EDUCATION  DEFT, 


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RAYMOND'S  ORATOR'S  MANUAL. 

A  Practical  and  Philosophical  Treatise  on  Vocal  Culture,  Em- 
phasis and  Gesture,  together  with  Selections  for  Declama- 
tion and  Reading.  Designed  as  a  Text-Book  for  Schools 
and  Colleges,  and  for  Public  Speakers  and  Readers  who  are 
obliged  to  study  without  an  Instructor.  By  George  L. 
Raymond,  M.  A.,  Professor  of  Oratory,  Princeton  College, 
N.J. 

"  I  want  to  introduce  it  Into  my  school.  I  consider  It  the 
best  American  book  upon  Technical  Elocution.  It  has  also 
leadings  toward  a  philosophy  of  expression  that  no  other  book 
written  by  an  American  has  presented.  It  will  go  Into  my 
Senior  Class  as  a  Text-Book.  Send  me copies  for  Intro- 
duction."—if  oses  True  Brown,  Pres't  of  the  Boston  School 
of  Oratory. 

'*  The  freshest,  clearest,  most  complete  and  soundly 
philosophical  work  on  a  public  speaker's  training  that  it  i  as 
been  our  fortune  to  meet.  In  form  and  substance  It  Is  admir- 
able. .  .  .  A  faithful  study  and  practice  of  the  principles 
and  examples  of  this  book  will  result  In  a  natural,  graceful 
atd  eflfectlve  style  of  public  speaking."— From  a  notice  in 
The  Christian  Union  by  J.  W.  Chukchill,  Prof,  of  Elocution, 
Andover  Theological  Seminary. 


BACON'S  MANUAL  OF  GESTURE. 

with  over  100  Figures,  embracing  a  Complete  System  of 
Notation,  together  with  the  Principles  of  Interpretation 
and  Selections  for  Practice. 

"  The  work  comprehends  all  that  Is  valuable  on  the  sub- 
ject of  gesture."— R.  L.  Cumnock,  Prof,  of  Elocution,  North- 
western University. 

"  There  has  been  no  work  on  the  subject  yet  offered  to 
the  public  which  approaches  It  for  exhaustlveness  and  com- 
pleteness of  detail It  Is  of  the  utmost  value,  not 

merely  to  students,  but  to  lawyers,  clergymen,  teachers  and 
public  speakers,  and  its  Importance  as  an  assistant  In  the 
formation  of  a  correct  and  appropiiate  style  of  action  can 
hardly  be  over-estimated."- PAiiarfcZpAia  Inquirer. 

JOHN  C.  BUCKBEE  k  CO.,  PUBLISHERS, 

122  &  124  WABASH  AVE.,  CHICAGO. 


MANUALOFGESTURE; 


EMBRACING     A     COMPLETE 


SYSTEM    OF    NOTATION, 


TOGETHER     WITH     THE 


PRINCIPLES    OF    INTERPRETATION 


SELECTIONS  FOR  PRACTICE. 


By  albert  M.  BACON,  A.  M. 

PROFESSOR  OF  ElloCUTION. 


Association's  mystic  power  combines 
Internal  passion  with  external  signs." 

Lloyd's  Actor. 


SEVENTH    EDITION. 


CHICAGO: 
J.   C.  BUCKBEE   &   COMPANY,  PUBLISHERS 

122  AND  124  WABASH  AVENUE. 


•     •   •    «   •      t     • 

«»*«crc       « 
•      •         •     •       •        •• 


iM 


A-f 


iCDUOATION  DEPT 


Entered  according  to  Act  of  Congress,  in  the  year  187*,  by 

SAMUEL  C.  GRIGGS, 
in  the  office  of  the  Librarian  of  Congress,  at  Washington. 


WOmfUEY/ 


PREFACE 


Agreeable  sounds  and  harmonious  action  —  one  addressing  the  ear, 
and  the  other  the  eye  —  combine  to  perfect  the  orator. 

In  the  department  of  vocal  culture  there  is  no  lack  of  text -books. 
Dr.  Rush,  in  his  masterly  work  entitled  The  Philosophy  of  the  Human 
Voice,  has  furnished  the  most  ample  facilities  for  the  cultivation 
of  the  vocal  powers;  and  for  those  who  6nd  his  book  too  elaborate, 
Prof.  William  Russell  has  published  his  Orthophony  :  or.  Vocal  Culture, 
in  which  the  subject  is  rendered  simple  and  practical.  These,  and 
other  similar  works,  furnish  the  requisite  means  of  acquiring  the 
principles  and  rules  of  vocal  culture. 

With  respect  to  the  department  of  gesture,  however,  the  case  is 
far  different.  The  want  of  a  complete  text  -  book  is  seriously  felt  by 
the  student  of  oratory.  To  this  want  the  deficiency  of  public  speakers 
quite  generally,  in  regard  to  this  subject,  is  mainly  attributable. 

Among  the  writers  of  antiquity,  Quintilian,  in  his  Institutes  of 
Oratory,  has  written  the  most  and  the  best  upon  this  subject. 

Rev.  Gilbert  Austin,  an  eminent  elocutionist  of  London,  issued  in 
A.  D.  1806  his  Chironomia,  a  quarto  volume  of  six  hundred  pages, 
more  than  two -thirds  of  which  is  devoted  to  the  subject  of  gesture. 
This  is  the  most  valuable  as  well  as  the  most  extensive,  treatise  ever 
written  upon  this  branch  of  oratory. 

The  present  volume  is  based  upon  the  work  of  Mr.  Austin.  The 
system  of  notation  here  adopted  is  substantially  the  same  as  that 
invented   by  him,  and   contained   in   the  Chironomia.     As  regards   the 


ivi209484 


IV  PREFACE. 

interpretation  of  gesture,  which  is  a  prominent  feature  of  this  work, 
the  author  claims  to  have  more  fully  developed  and  thoroughly  system- 
atized this  branch  of  the  subject  than  any  other  author  has  attempted 
to  do. 

This  Manual  was  originally  prepared,  in  manuscript,  for  the  use 
of  my  own  pupils  while  engaged  in  teaching  elocution  in  New 
England.  A  limited  edition  was  afterwards  published  in  pamphlet 
form.  The  work  has  now  been  carefully  revised,  much  enlarged,  and 
illustrated  with  cuts.  In  the  interpretation  of  gesture,  new  definitions 
and  new  combinations,  with  more  copious  examples,  have  been  added. 

I  am  much  indebted  to  Prof.  William  Russell,  the  eminent  elocu 
tionist  and  accomplished  scholar,  for  his  hearty  co-operation  and 
valuable  suggestions  in  the  preparation  of  this  volume.  Both  from 
his  published  works  and  from  frequent  personal  interviews,  I  have 
received  important  aid. 

A.  M.  BACON. 

Chicago,  Nov,  30,  1872. 


CONTENTS. 


PAGE. 

CHAPTER   I. 
Rhetorical  Delivery _ 5 

CHAPTER   II. 
Gesture , -- 25 

CHAPTER  III. 
Notation  of  Gesture - .     40 

CHAPTER   IV. 
Right  Hand  Supine S3 

CHAPTER   V. 
Both  Hands  Supine 80 

CHAPTER  VI. 
Right  Hand  Prone 96 

CHAPTER  VII. 
Both  Hands  Prone 108 

CHAPTER  VIII. 
The  Vertical  Hand _ 114 

CHAPTER   IX. 
Special  Gestures 122 

CHAPTER   X. 
Conclusion 146 


Miscellaneous  Examples 163 

Selections  for  Practice 190 

Index  of   Interpretation ...  261 

I* 


CHAPTER  I, 


RHETORICAL  DELIVERY. 

Rhetorical  Delivery  includes  the  management  of 
the  voice,  the  gesture,  the  attitude,  and  the  expression 
of  the  countenance. 

The  advantage  of  a  natural,  graceful,  and  effective 
delivery  is  second  in  importance  only  to  the  sentiments 
and  language  of  a  public  speaker.  Indeed,  so  great 
have  been  the  achievements  of  the  oratorical  art,  so 
marked  the  success  of  those  who  have  thoroughly  cul  - 
tivated  it,  as  contrasted  with  others  of  equal,  or  even 
superior  talents  in  other  respects,  but  deficient  in  this, 
that  many  have  been  led  to  attach  more  importance  to 
delivery  than  to  composition.  The  public  speaker  who 
neglects  this  part  of  an  orator's  education  certainly 
suffers  great  loss.  He  may  be  esteemed  for  his  learning, 
and  command  the  appreciation  of  those  who  listen  to 
his  wise  and  judicious  sayings,  who  admire  the  many 
excellencies  of  his  production,  and  he  may  rest  satisfied 
with  this  measure  of  success ;  but  the  added  power  of 
a  winning  and  persuasive  delivery  would  greatly  in- 
crease the  efficiency  of  his  public  efforts. 

The  words  of  Cicero,  coming  down  througli  the 
centuries,  should  have  weight  with  us  in  our  compara- 


6  MAKUAL  OF  GESTURE. 

tive  neglect  of  this  subject.  In  his  work  on  celebrated 
orators  he  says  :  "  It  is  of  little  consequence  that  you 
prepare  what  is  to  be  spoken,  unless  you  are  able  to 
deliver  your  speech  with  freedom  and  grace.  Nor  is 
even  that  sufficient,  unless  what  is  spoken  be  delivered 
by  the  voice,  by  the  countenance,  and  by  the  gesture 
in  such  a  manner  as  to  give  it  a  higher  relish."  Refer- 
ing  to  the  tones  of  voice,  to  gesture,  and  the  expression 
of  the  countenance,  he  says:  "It  is  hardly  possible  to 
express  of  how  great  consequence  is  the  manner  in 
which  the  orator  avails  himself  of  all  these.  For  even 
indifferent  speakers,  by  the  dignity  of  their  action,* 
have  frequently  reaped  the  fruits  of  eloquence ;  whilst 
those  whose  language  is  that  of  an  orator,  often  on 
account  of  the  awkwardness  of  their  action,  have  been 
reckoned  indifferent  speakers." 

Quintilian,  also,  in  his  observations  upon  Hortentius, 
says:  "If  delivery  can  produce  such  an  effect  as  to 
excite  anger,  tears,  and  solicitude  in  subjects  we  know 
to  be  fictitious  and  vain,  how  much  more  powerful  must 
it  be  when  we  are  persuaded  in  reality  ?  Nay,  I  ven- 
ture to  pronounce  that  even  an  indifferent  oration,, 
recommended  by  the  force  of  action,  would  have  more 
effect  than  the  best  if  destitute  of  this  enforcement." 
Again  he  says:  "Unquestionably,  since  mere  words 
have,  in  themselves,  a  powerful  efficacy,  and  since  the 
voice  adds  to  what  is  said  its  own  influence,  and  since 
gesture  and  emotion  have  also  their  peculiar  signifi- 


*  It  should  be  here  observed  that,  with  the  ancients,  action  was  synonomous 
with  delivery^  and  embraced  voice,  gesture,  attitude,  and  facial  expression.  We  use 
the  term  to  indicate  only  that  part  of  delivery  which  addresses  itself  to  the  eye. 


RHETORICAL  DELIVERY.  7 

cance,  something  perfect  must  be  produced  when  all 
are  combined  together." 

The  acknowledged  ability  of  Lord  Chesterfield  to 
judge  in  such  matters  will  give  weight  to  the  following 
quotation  from  him:  "  If  you  would  either  please  in  a 
private  company  or  persuade  in  a  public  assembly,  air, 
looks,  gestures,  graces,  enunciation,  proper  accents,  just 
emphasis,  and  tuneful  cadences,  are  full  as  necessary  as 
the  matter  itself." 

The  importance  of  a  good  delivery  may  be  con- 
sidered with  reference  to  three  departments  of  oratory  : 
Deliberative,  Judicial  and  Sacred.  The  other  purposes 
which  the  art  may  be  made  to  serve  will  be  found 
nearly  related  to  one  or  another  of  these. 

The  statesman,  who  in  some  measure  is  held  responsi- 
ble for  the  welfare  of  the  state,  needs  to  supplement 
other  qualifications  with  such  oratorical  resources  as 
shall  not  only  fit  him  for  the  ordinary  demands  of 
public  service,  but  render  him  equal  to  any  emergency. 
Amidst  the  turmoil  of  revolution  or  the  conflict  of 
nations,  it  may  be  his  mission  to  roll  back  the  tide  of 
war,  and,  like  the  son  of  Hermes, 

"  With  siren  tongue  and  speaking  eyes, 
Hush  the  noise  and  soothe  to  peace." 

The  advocate,  who,  before  judges  and  jurors,  stands 
to  vindicate  the  rights  of  his  fellow -man,  and  ofttimes 
to  plead  for  his  life,  hazards  too  much  if  he  ignore 
the  oratorical  art.  To  say  nothing  of  opportunities  for 
rising  to  eminence  in  his  profession,  he  may,  by  the 
industrious  cultivation  of  this  art,  render  to  humanity 
a  far  more  important  service. 


8  MANUAL  OF   GESTUBE. 

But  more  than  all,  the  minister  of  the  Gospel,  whose 
high  vocation  is  to  preach  to  a  lost  world  the  glad 
tidings  of  salvation,  and  lead  men  to  believe  in  Jesus 
Christ,  that  they  may  be  saved  from  wrath  and  ruin ; 
the  messenger  of  God  who  stands  between  the  living 
and  the  dead  to  utter  words  of  such  tremendous  import 
as  to  affect  the  eternal  destiny  of  every  one  of  his 
hearers ;  the  bearer  of  this  high  and  holy  commission 
should  most  certainly  strive  for  the  acquisition  of  every 
element  of  pulpit  power.  In  addition  to  his  faith  in 
God,  and  the  requisite  knowledge  of  the  Scriptures, 
and  of  men,  and  of  whatsoever  things  are  needful  to  fit 
him  for  his  work,  and  to  enable  him  clearly  to  illustrate 
Bible  truth,  he  should  by  all  means  labor  to  possess 
himself  of  the  undoubted  advantages  of  a  powerful 
and  persuasive  delivery.  In  presenting  his  message,  he 
should  at  least  interpose  no  obstacle  in  the  way  of  its 
easy  access  to  the  ear,  the  vestibule  of  the  soul.  He 
should  not  weary  his  congregation  by  indistinctness  of 
enunciation  or  want  of  vocal  power ;  compelling  them 
to  expend  in  the  effort  to  catch  the  words,  that  atten- 
tion which  should  be  given  to  the  thought.  He  must 
avoid  offending  the  ear  with  harsh,  or  in  anywise  disa- 
greeable tones,  and  the  eye  by  ungainly  postures,  or 
by  awkward,  or  unmeaning,  or  superfluous  gestures. 
Above  all,  he  should  never  grieve  the  Divine  Master, 
make  the  angels  weep,  and  disgust  his  fellow -men  by 
any  ostentatious  display  of  his  oratory  in  the  pulpit. 

More  attention  to  the  graces  of  dehvery  would  aug- 
ment the  power  of  the  modern  pulpit.  Said  Cicero,  to 
some  of  his  learned  contemporaries,  "  It  is  not  genius. 


RHETORICAL   DELIVERY.  » 

it  is  the  genius  of  oratory  that  you  want."  This 
remark,  as  well  as  the  following  lines  from  John  Byrom, 
respecting  the  English  clergy,  will  apply  to  some  theo- 
logians of  the  present  day : 

"  In  point  of  sermons,  'tis  confest 
Our  English  clergy  make  the  best ; 
But  this  appears,  we  must  confess. 
Not  from  the  pulpit,  but  the  press. 
They  manage,  with  disjointed  skill, 
The  matter  well,  the  manner  ill ; 
And,  what  seems  paradox  at  first, 
They  make  the  best,  and  preach  the  worst." 

Addison  also  complains  of  the  general  neglect  of 
this  subject  in  his  time.  He  says;  ''Our  preachers 
stand  stock  still  in  the  pulpit,  and  will  not  so  much  as 
move  a  finger  to  set  off  the  best  sermons  in  the  world. 
We  meet  with  the  same  speaking  statues  at  our  bars, 
and  in  all  public  places  of  debate.  Our  words  flow 
from  us  in  a  smooth,  continued  stream,  without  those 
strainings  of  the  voice,  motions  of  the  body,  and 
majesty  of  the  hand,  which  are  so  much  celebrated  in 
the  orators  of  Greece  and  Rome.  We  talk  of  life  and 
death  in  cold  blood,  and  keep  our  temper  in  a  discourse 
which  turns  upon  everything  that  is  dear  to  us." 
While  this  description  of  English  orators  may,  to  some 
extent,  find  its  counterpart  in  our  own  country,  the 
tendency,  in  many  cases,  is  to  the  opposite  extreme. 
Hamlet's  instructions  to  the  players,  guarding  them 
against  extravagance  on  the  one  hand,  and  tameness  on 
the  other,  are  quite  as  serviceable  to  the  orator  as  to  the 
actor ; 


10  MANUAL  OF   GESTUKE. 

"  Speak  the  speech,  I  pray  you,  as  I  pronounced  it  to 
you,  trippingly  on  the  tongue ;  but  if  you  mouth  it,  as 
many  of  our  players  do,  I  had  as  lief  the  town  crier 
spoke  my  lines.  Nor  do  not  saw  the  air  too  much  with 
your  hand,  thus ;  but  use  all  gently :  for  in  the  very 
torrent,  tempest,  and  (as  I  may  say)  whirlwind  of  your 
passion,  you  must  acquire  and  beget  a  temperance  that 
may  give  it  smoothness.  *  *  *  Be  not  too  tame 
neither,  but  let  your  own  discretion  be  your  tutor ;  suit 
the  action  to  the  word,  the  word  to  the  action,  with 
this  special  observance,  that  you  o'erstep  not  the 
modesty  of  nature;  for  anything  so  overdone  is  from 
the  purpose  of  playing,  whose  end,  both  at  the  first, 
and  now,  was,  and  is,  to  hold,  as  't  were,  the  mirror  up 
to  Nature ;  to  show  Virtue  her  own  feature.  Scorn  her 
own  image,  and  the  very  age  and  body  of  the  time  his 
form  and  pressure.  *  *  *  Now,  this  overdone,  or 
come  tardy  off,  though  it  make  the  unskillful  laugh, 
cannot  but  make  the  judicious  grieve." 

Objections  are  not  unfrequently  raised  against  the 
systematic  study  of  oratory.  Eloquence,  we  are  told, 
is  the  gift  of  Nature,  and  must  be  left  to  her  direction. 
But  Nature,  unaided  by  Art,  has  never  yet  produced  a 
perfect  orator,  nor  has  she  approached  perfection.  The 
great  orators  of  both  ancient  and  modern  times  have 
diligently  studied  the  rules  of  the  art  until  they 
acquired  the  grace  of  cultivated  nature.  To  say  that 
there  is  no  excellence  in  this  department  without  the 
study  of  rules,  would  be  a  libel  upon  nature  and  a  con- 
tradiction of  history;  but  to  say  that  the  highest 
excellence  can  only  be  attained  by  the  most  assiduous 


BHETORICAL   DELIVERY.  11 

culture,  is  to  assert  a  truth  which  the  history  of  orators 
and  oratory  most  fully  confirms.  The  incessant  labors 
of  Demosthenes,  of  ^schines,  of  Hortentius,  of  Isoc- 
rates,  and  Gracchus,  show  that  these  men  agreed  with 
Oicero  in  the  behef  that  to  be  an  orator,  something 
more  is  needed  than  to  he  horn. 

If  it  belongs  to  nature  to  furnish  the  world  with 
ready-made  orators,  why  does  she  not  do  it?  Where 
are  they  ?  Nature  will  perform  her  part ;  but,  obviously, 
it  is  no  more  her  province  to  produce  finished  orators 
than  finished  scholars  or  artists.  What  every  one  knows 
to  be  true  in  regard  to  painting,  poetry  and  music,  is 
also  true  of  oratory :  we  find  in  these  the  bestowment 
of  natural  gifts,  and  the  necessity  of  cultivation ;  with 
a  degree  of  attainment  proportionate  to  the  industry 
and  perseverance  of  the  recipient. 

Some  have  objected  to  the  study  of  oratory,  on  the 
ground  that  it  tends  to  form  an  unnatural  style  of  de- 
livery. In  some  instances  this  may  be  the  tendency ; 
but  the  fault  lies  not  in  the  art,  but  in  the  imperfect 
acquisition  of  it.  The  rules  of  any  art,  only  partially 
learned  and  feebly  followed,  or  even  strictly  followed 
without  facility  of  execution,  will  produce  the  same 
result.  The  meager  attention  paid  to  this  subject  in 
our  literary  institutions  will  never  develop  the  oratorical 
talent  of  the  country.  Twenty -four  lessons  in  vocal 
culture,  interspersed  with  a  few  hints  on  gesture,  will 
hardly  suffice  to  complete  the  work  nature  has  begun. 
And  yet  comparatively  few  receive  even  this.  Six  years 
is  thought  to  be  little  enough  to  devote  to  the  classics ; 
while  in  the  department  of  oratory,  great  results  are 


12  MANUAL  OF   GESTURE. 

expected  from  a  very  small  amount  of  labor.  Six  years 
in  Greek,  and  six  weeks  in  elocution !  So  long  as  this 
is  held  to  be  the  true  relative  proportion,  we  shall  con- 
tinue to  hear  that  elocutionary  training  tends  to  un- 
naturalness ;  but  when  this  branch  of  education  shall 
be  elevated  to  its  true  position,  and  carried  along,  side 
by  side,  with  other  branches,  we  shall  hear  no  more 
of  an  objection  which  applies  only  to  a  superficial 
knowledge  of  the  subject.  It  is  not  true  that  those 
who  have  perseveringly  devoted  themselves  to  oratory 
have  so  signally  failed ;  but,  on  the  other  hand,  the 
most  natural  speakers  and  actors  are  known  to  be  the 
most  diligent  students  of  rhetorical  and  dramatic  de- 
livery. According  to  the  position  assumed  by  the 
objector,  Demosthenes,  having  pursued  this  study 
farther  than  any  other  man,  either  in  ancient  or  modern 
times,  should  stand  out  in  history  as  the  most  mechani- 
cal, unnatural  and  ineffective  public  speaker  that  the 
world  has  ever  produced ;  but  since  the  great  Athenian 
is  universally  acknowledged  to  be  the  most  graceful, 
natural,  and  effective  among  the  world's  greatest 
orators,  we  may  well  conclude  this  objection  to  be 
unfounded. 

We  sometimes  meet  with  those  who,  without  special 
elocutionary  instruction,  exhibit  in  their  delivery  a 
natural  force,  freedom  and  grace,  far  surpassing  many 
others  who  have  devoted  themselves  to  this  department. 
Some  have  construed  this  into  an  argument  against  the 
systematic  study  of  oratory.  But  the  argument  proves 
too  much.  It  bears  with  equal  force  against  other 
branches   whose   utility  is   unquestioned.     There    are 


RHETORICAL   DELIVERY.  13 

n-athematical  geniuses  who  can  accomplish  more  with- 
out the  rules  of  the  science  than  many  others  can  with 
them.  The  same  is  true  of  other  branches  of  learning. 
But  shall  they  all,  on  this  account,  be  discarded?  If 
not,  why  then  single  out  and  make  an  exception  with 
respect  to  oratory? 

There  have  been  men  who  never  pursued  a  college 
course,  and  yet  such  have  been  their  achievements  in 
life  that  their  names  will  survive  those  of  the  great 
majority  of  graduates  a  thousand  generations,  and  even 
outlive  the  names  of  all  the  colleges  of  their  time. 
But  who  would  think  of  mentioning  this  as  an 
argument  against  the  utility  of  colleges?  Because 
nature  has  bestowed  peculiar  gifts  upon  a  few,  shall 
we,  therefore,  say  that  there  is  no  acquired  excel- 
lence? As  well  condemn  the  science  of  agriculture 
because  some  soils  yield  more  spontaneously  than 
others  do  with  the  most  careful  cultivation.  But  let  it 
be  remembered  that  those  who  are  by  nature  endowed 
with  the  highest  oratorical  talents  will  achieve  the  most 
brilliant  success  in  the  diligent  study  of  eloquence ;  as 
that  soil  which  is  naturally  most  productive,  will  most 
richly  reward  its  liberal  cultivator. 

The  success  of  those  who  have  applied  themselves  to 
the  study  of  oratory  fully  attests  the  value  of  the  art. 
Among  these,  Demosthenes  ranks  the  highest.  For  the 
encouragement  of  those  who  look  upon  a  high  degree 
of  excellence  in  this  department  as  the  peculiar  mark 
of  genius,  and,  therefore,  unattainable  by  them,  it  may 
be  mentioned  that  it  was  only  by  great  perseverance, 
and  after  repeated  and  mortifying  failures,  that  Demos- 


14  MANUAL  OF   GESTURE. 

thenes  succeeded  at  all.  Plutarch  relates  of  him  that, 
upon  one  occasion,  while  complaining  to  Satyrus  of  his 
want  of  success,  notwithstanding  his  continued  efforts, 
the  latter  asked  him  to  recite  some  lines  of  Euripides 
or  Sophocles.  When  he  had  complied,  Satyrus  repeated 
them  over  after  him,  but  with  such  tones  and  gestures 
as  to  show  the  value  of  elocutionary  training.  "And 
being  persuaded  how  much  of  ornament  and  grace  is 
added  to  the  speech  by  the  delivery,  he  considered  of 
little  or  no  value  the  labor  of  any  man  Avho  neglected 
the  pronunciation  and  the  gesture  suited  to  the  words." 
Accordingly,  he  built  a  subterranean  study,  in  which 
he  daily  exercised  his  voice.  Here  he  would  remain 
for  two  or  three  months  at  a  time,  and  he  even  shaved 
one  side  of  his  head  that  he  might  compel  retirement. 
The  success  of  Demosthenes  furnishes  the  most  illus- 
trious example  on  record  of  what  may  be  accomplished 
by  close  and  continued  application.  Such  was  the 
esteem  in  which  he  was  held  by  his  own  countrymen 
that,  "  when  he  was  to  plead,  all  ingenious  men  flocked 
to  Athens  from  the  remotest  parts  of  Greece,  as  to  the 
most  celebrated  spectacle  of  the  world."  The  Romans 
also  regarded  him  with  the  highest  admiration,  as  may 
be  inferred  from  the  exclamation  of  Cicero:  "Let  us 
imitate  Demosthenes  I  *  *  *  What  else,  I  beseech 
you,  do  we  attempt,  or  what  more  do  we  wish?  Yet, 
still,  we  shall  never  reach  his  perfections  I "  The  mere 
reading  of  his  orations  conveys  no  adequate  idea  of  the 
effect  produced  by  their  delivery.  Says  Valerius  Maxi- 
mus:  "In  Demosthenes,  is  wanting  a  great  part  of 
Demosthenes,  since  he  must  be  read  and  cannot  be 
heard." 


BHETORICAL  DELIVERY.  16 

Cicero,  who  enjoyed  a  reputation  in  Rome,  similar  to 
that  of  Demosthenes  in  Greece,  seems  to  have  exem- 
plified his  own  definition  of  eloquence,  —  The  art  of 
gainirig  others  to  our  opinions.  His  biographer  tells  us 
that  no  other  ancient  orator  could  so  easily  and 
naturally  turn  the  feelings  of  an  audience  in  any  de- 
sired direction.  With  his  consummate  oratory,  he 
electrified  the  Roman  senate.  By  the  power  of  his 
eloquence,  he  delayed  for  a  time  the  downfall  of  the 
Republic. 

The  success  of  Cicero,  like  that  of  Demosthenes,  v/as 
the  result  of  close  application  to  the  study  of  rules, 
and  persevering  practice  in  the  art  of  delivery.  "  They 
were  the  most  assiduous,  the  most  rigorous,  the  most 
literal  self- cultivators,  in  the  humblest  and  minutest 
details,  of  practical  elocution." 

jEschines,  a  celebrated  Athenian  orator,  and  rival  of 
Demosthenes,  excelled  in  extemporaneous  oratory,  of 
which  he  was  called  the  inventor.  Being  at  the  head 
of  one  of  the  political  parties  of  Attica,  he  had  many 
fierce  contests  with  Demosthenes,  who  was  the  leader 
of  the  opposite  party.  Demosthenes  himself  acknowl- 
edged the  agreeable  quality  and  volume  of  his  rival's 
voice,  and  the  graces  of  his  manner  in  the  tribune. 
jEschines  afterwards  founded  a  school  of  oratory  at 
Rhodes,  which  became  celebrated  throughout  the  world. 

•  Hortentius,  a  personal  friend  of  Cicero,  although  not 
possessed  of  the  highest  order  of  talents  in  other  re- 
spects, was,  on  account  of  the  graces  of  his  delivery, 
accounted  the  rival  of  Cicero.  Quintillian  says  ''  there 
was  something  in  him  which  strangely  pleased  when  he 


16  MANUAL  OF  GESTUBE. 

spoke,  which  those  who  perused  his  orations  could  not 
find." 

William  Pitt,  so  distinguished  in  the  British  Parlia- 
ment for  his  majestic  and  overpowering  eloquence, 
acquired  his  power  of  extemporizing  by  a  severe  course 
of  training  at  Oxford,  where  he  gained  a  high  reputa- 
tion, not  only  for  talent,  but  for  skill  in  elocution.  It 
is  said  that  after  entering  parliament  he  remained  silent 
for  nearly  a  year,  carefully  studying  the  character  of 
the  house.  For  the  following  description  of  Pitt  we 
are  indebted  to  Lord  Macaulay : — "  His  figure,  when 
he  first  appeared  in  parliament,  was  strikingly  graceful 
and  commanding,  his  features  high  and  noble,  his  eyes 
full  of  fire.  His  voice,  even  when  it  sank  to  a  whisper, 
was  heard  to  the  remotest  benches ;  when  he  strained 
it  to  its  full  extent,  the  sound  rose  like  the  swell  of  the 
organ  of  a  great  cathedral,  shook  the  house  with  its 
peal,  and  was  heard  through  the  lobbies  and  down  stair- 
cases, to  the  Court  of  Requests  and  the  precincts  of 
Westminster  Hall.  He  cultivated  all  these  eminent 
advantages  with  the  most  assiduous  care.  His  action 
is  described  by  a  very  malignant  observer  as  equal  to 
that  of  Garrick.  His  play  of  countenance  was  wonder- 
ful; he  frequently  disconcerted  a  hostile  orator  by  a 
single  glance  of  indignation  or  scorn.  Every  tone,  from 
the  thrilling  cry  to  the  impassioned  aside,  was  perfectly 
at  his  command." 

The  younger  Pitt,  for  a  considerable  time  the  leading 
spirit  in  the  House  of  Commons,  was  also  distinguished 
for  his  oratorical  accomplishments.  It  is  said  that  "  he 
could  pour  forth  a  long  succession  of  round  and  stately 


RHETOBICAL  DELIVERY.  17 

periods  without  premeditation,  without  ever  pausing 
for  a  word,  without  ever  repeating  a  word,  in  a  voice  of 
silver  clearness,  and  with  a  pronunciation  so  articulate 
that  not  a  letter  was  slurred  over."  We  are  told  that 
his  father  had  trained  him  from  infancy  in  the  art  of 
managing  his  voice,  which  was  naturally  clear  and 
deep-toned,  and  that  his  whole  education  had  been 
directed  to  the  point  of  making  him  a  great  parliament- 
ary orator. 

Tlie  eloquence  of  Fox  was  of  that  higher  type 
which  consists  of  "  reason  and  passion  fused  together." 
Mackintosh  says : — *'  He  certainly  possessed  above  all 
moderns  that  union  of  reason,  simplicity  and  vehemence 
which  formed  the  prince  of  orators.  He  was  the  most 
Demosthenean  speaker  since  Demosthenes."  Says  Dr. 
Johnson  :  '*  Here  is  a  man  who  has  divided  a  kingdom 
with  Caesar,  so  that  it  was  a  doubt  which  the  nation 
should  be  ruled  by,  the  sceptre  of  George  IH,  or  the 
tongue  of  Mr.  Fox."  Edmund  Burke  calls  him  ''the 
most  brilliant  and  successful  debater  the  world  ever 
saw,"  an  opinion  which  was  admitted  even  by  his 
enemies. 

Lord  Erskine,  acknowledged  to  be  the  greatest  of 
English  advocates,  is  another  example  of  the  succes^s 
attending  the  study  of  oratory.  His  eminence,  it  is 
true,  was  suddenly  achieved,  but  was,  nevertheless,  the 
result  of  previous  preparation.  We  are  told  that  he 
studied  some  of  the  best  models  of  oratory  till  he  almost 
knew  them  by  heart,  and  also  passed  many  evenings  in 
a  debating  association,  where,  after  the  example  of  Pitt 
and  Burke,  he  trained  his  talents  to  that  surpassing 


18  MAKtJAL  OF  GESTURE. 

strength  which  afterward  gained  him  the  high  reputa- 
tion he  enjoyed  as  an  advocate.  One  source  of  Erskine's 
power  over  a  jury,  lay  in  his  extraordinary  ability  to 
read  the  countenances  of  his  hearers,  and  adapt  himself 
to  their  varying  emotions. 

A  remarkable  instance  of  native  genius,   combined 
with  self-culture,  is  found  in  the  extraordinary  history 
of  Patrick  Henry.     With  little  aid  from  the  schools,  he 
rose  head  and  shoulders  above  his  contemporaries,  and 
roused  three  millions  of  people  to  the  cry  of  ^^  Liberty  or 
death  .^"  He  was  recognized  as  "  the  champion  of  consti- 
tutional liberty,"  and  "  the  mouth-piece  of  the  Revolu- 
i;ion."    According  to  his  own  account,  the  first  oratorical 
aspirations  of  young  Henry  were  awakened  at  the  age 
of  fourteen,  while  listening  to  the  wonderful  eloquence 
of  Rev.  Samuel  Davies,  the  great  orator  of  the  Presby- 
terian   church.      We   afterwards    find    him    studying 
human  nature  while  engaged  in  his  father's  store ;  ex- 
citing debates  among  the  country  people  who  frequented 
the  place,  relating  stories  and  anecdotes,  and  then  de- 
ciphering the  various  emotions  expressed  in  their  coun- 
tenances.    By  such  methods  he  doubtless  acquired  that 
knowledge  of  the  passions  and  their  outward  signs, 
which  enabled  him  in  so  extraordinary  a  manner  to 
express  feeling  by  a  simple  movement  of  the  features. 
"  The  stern  face  would  relax  and  grow  soft,  pensive, 
and  gentle  ;  or  a  withering  rage  would  burn  in  the  fiery 
eye ;  or  eyes,  mouth  and  voice  would  convey  to  the 
listener  emotions  of  the  tenderest  pathos."     Hence,  he 
was  enabled  to  influence,  as  he  did,  the  minds  of  jurors, 
over  whom  he  is  said  to  have  exercised  ''  a  species  of 


RHETORICAL  DELIVERY.  19 

magnetic  fascination  which  took  their  reason  captive, 
and  decided  the  result  without  reference  to  the  merits 
of  the  case."  His  eloquence  has  been  described  as 
"  Shakespeare  and  Garrick  combined." 

Henry  Clay  was,  unquestionably,  the  most  consum- 
mate orator  of  his  time.  The  charm  of  his  eloquence 
was  felt  even  beyond  the  line  of  personal  contact. 
Multitudes  who  never  heard  the  sound  of  his  voice, 
were  drawn  by  his  magnetic  influence.  Without  being 
elected  to  the  highest  official  position,  Henry  Clay, 
like  Daniel  Webster,  rose  majestically  above  that  posi- 
tion. But  for  the  clashing  of  opinions,  but  for  political 
prejudices  and  party  preferences,  the  eloquence  of  Clay 
would  have  won  every  heart  in  the  nation.  Aside 
from  his  pure  and  lofty  patriotism,  he  possessed  that 
rare  faculty,  which,  if  made  the  test  of  eloquence 
would  so  far  modify  Cicero's  definition  as  to  make  it 
the  art  of  winning  others  to  ourselves.  The  great  Ken- 
tuckian  won  his  hearers  first  to  himself,  and  then  to  his 
opinions.  Such  was  the  suavity  of  his  address,  that  an 
eminent  political  antagonist  is  said  to  have  refused  an 
introduction  to  him  lest  he  should  be  *' magnetized  and 
mollified,  as  others  had  been,  by  personal  contact." 

Clay  began  early  in  life  to  cultivate  his  speaking 
powers.  We  give  his  own  language  addressed  to  a 
graduating  class  of  law  students :  "  I  owe  my  success 
in  life  to  one  single  fact,  namely,  that  at  an  early  age  I 
commenced,  and  continued  for  some  years,  the  practice 
of  daily  reading  and  speaking  the  contents  of  some  his- 
torical or  scientific  book.  *  *  *  *  It  is  to  this 
early  practice  of  the  art  of  all  arts  that  I  am  indebted 


20  MANUAL  OF   GESTURE. 

for  the  primary  and  leading  impulses  that  stimulated 
my  progress,  and  have  shaped  and  moulded  my  entire 
destiny." 

The  eloquence  of  Daniel  Webster  was  the  eloquence 
of  matter  rather  than  manner.  Some  one  has  said  that 
"his  words  weighed  a  pound  apiece."  His  speeches 
read  better  than  Clay's.  In  the  senate  Webster  was 
the  thunder,  Clay  was  the  lightning.  Webster  was 
distinguished  for  force  and  earnestness;  hence  he  made 
frequent  use  of  the  clinched  hand,  "  the  sledge-hammer 
gesture."  Clay's  delivery  was  remarkable  for  ease  and 
grace.  His  favorite  gesture  was  the  pointing  finger. 
One  of  his  hearers  remarked  that  his  arguments  seemed 
to  drop  from  the  end  of  his  finger. 

The  oratory  of  Edward  Everett  combined,  in  a  very 
high  degree,  the  exquisite  finish  of  the  writer  with  the 
artistic  culture  of  the  speaker.  What  Cicero  says  of 
Hortentius  may  be  said  of  Mr.  Everett,  that  his  delivery 
had  "  even  more  of  art  than  was  sufficient  for  an  orator." 
His  action  was  "faultily  faultless." 

Those  who  speak  without  regard  to  the  rules  of  art 
would  do  well  to  study  such  a  model  as  Mr.  Everett ; 
while  those  who  are  faulty  in  the  opposite  direction — 
whose  delivery  exhibits  more  conformity  to  rules  than 
freedom  and  grace — had  better  study  John  B.  Gough, 
who  maybe  styled  Edward  Everett's  oratorical  antipode. 

Wendell  Phillips  ranks  among  the  foremost  of  Amer- 
ican orators.  His  delivery  is  simple  and  natural ;  con- 
versational rather  than  declamatory.  His  musical  voice 
and  graceful  action  give  pleasure  to  the  ear  and  the 
eye.    He  always  interests  his  audience,  not  only  because 


BHETORICAL  DELIVERY.  21 

he  has  something  to  say,  but  because  of  the  ease  and 
grace  with  which  he  says  it.  When  fully  aroused  upon 
great  occasions,  he  carries  everything  before  him.  Mr. 
Phillips'  manner  before  an  audience  is  earnestly  recom- 
mended to  those  public  speakers  who  are  exhausting 
themselves  by  over-exertion.  By  adopting  a  moderate 
style  of  delivery,  many  a  man  might  regain  his  wasted 
energies,  and  make  the  business  of  speaking  what  it 
should  be,  a  healthful  exercise  both  for  body  and 
mind. 

John  B.  Gough's  oratory  is  emphatically  sui  generis. 
Its  like  is  not  to  be  found  in  either  hemisphere.  His 
marvelous  influence  over  an  audience  is  due  to  his 
knowledge  of  human  nature,  his  faith  in  mankind,  his 
power  of  imitation  and  description,  added  to  his  warm 
and  generous  sympathies — the  orator's  touch-stone,  the 
key  to  the  popular  heart.  As  regards  his  style  of 
delivery,  Mr.  Gough  may  be  said  to  be  above  rules. 
The  exacting  professional  elocutionist  may  find  much 
to  criticize  ;  but  to  confine  such  a  man  as  Gough  to  the 
rules  of  the  schools,  would  be  unwise ;  and  to  make 
those  rules  the  test  of  his  merit,  would  be  unjust. 

The  pulpit  presents  the  widest  and  the  most  produc- 
tive field  for  the  exercise  of  oratorical  talent.  The 
themes  here  discussed  are  not  only  inexhaustible,  but 
they  are  the  most  elevating  that  can  possibly  employ 
the  human  mind.  The  sacred  orator,  therefore,  has  an 
immense  advantage  over  the  secular.  If  the  orators  of 
Greece  and  Rome  carried  their  art  to  so  high  a  degree 
of  perfection,  and  produced  such  wonderful  results 
before   the    introduction   of   Christianity,    how    great 


22  MANUAL  OF  GESTURE. 

should  be  the  success  of  those  who  discourse  upon  the 
exalted  themes  of  the  Christian  religion. 

Pulpit  oratory  derives  its  importance  from  the  con- 
sideration that  preaching  is  the  divinely  appointed 
means  of  saving  men. 

The  most  eloquent  preacher  in  the  early  church  was 
Chrysostom,  "the  golden-mouthed,"  who  was  a  diligent 
student  of  the  Greek  masters  of  oratory.  One  of  the 
most  remarkable  examples  of  pulpit  eloquence  on 
record  is  that  of  George  Whitefield,  whose  preaching 
attracted  vast  multitudes,  both  in  England  and  Amer- 
ica. He  combined  in  an  eminent  degree  a  natural 
grace  of  manner  and  highly  cultivated  oratory  with 
that  holy  zeal  which  is  the  highest  type  of  eloquence. 
"  His  voice,"  says  Southey,  "excelled  both  in  melody 
and  compass,  and  its  fine  modulations  were  accom- 
panied by  that  grace  of  action  which  he  possessed  in 
an  eminent  degree,  and  which  has  been  said  to  be 
the  chief  requisite  of  an  orator."  Says  another  writer : 
"  His  voice  was  marvelously  rich,  sweet  and  sonorous. 
His  eloquence  has  rarely  been  surpassed.  It  was  a 
natural  gift  improved  by  diligent  study.  *  *  *  * 
His  gestures  and  the  play  of  his  features  were  full  of 
dramatic  power."  This  advantage  he  doubtless  gained 
from  Garrick,  from  whom  it  is  stated  he  took  lessons. 

To  his  natural  gifts  and  graces  Whitefield  added  the 
power  which  lay  hidden  in  his  favorite  maxim,  to 
preach  as  Apelles  painted,  for  eternity.  "  Would 
ministers  preach  for  eternity,"  he  says,  "  they  would 
act  the  part  of  true  Christian  orators,  for  then  they 
would  endeavor  to  move  the  affections  and  warm  the 


RHETORICAL  DELIVERY.  23 

lieart,  and  not  constrain  their  hearers  to  suspect  that 
they  dealt  in  the  false  commerce  of  unfelt  truth." 

In  the  education  of  an  orator  the  elements  of  delivery 
should  first  be  taught  separately,  and  then  combined  in 
reading  and  declamation.  After  being  thoroughly 
drilled  in  articulation,  and  properly  instructed  in  the 
management  of  the  breath,  so  as  to  speak  without 
difficulty,  and  without  injury  to  the  vocal  organs,  the 
student  should  attend  carefully  to  the  various  elements 
of  speech ;  as  quality,  force,  stress,  time,  pitch  and 
slide ;  as  well  as  to  attitude,  gesture,  and  the  expres- 
sion of  the  countenance.  He  should  so  thoroughly 
master  all  these  as  to  be  able  to  dismiss  from  the  mind 
every  thought  of  rules  while  in  the  act  of  speaking. 
Prescribed  rules  are  but  the  scaffolding  which  is  to  be 
removed  when  the  building  is  finished.  The  rules  of 
delivery,  like  those  of  grammar  and  rhetoric,  should  be 
so  familiar  to  the  orator  as  to  be  strictly  observed, 
while  the  mind  is  wholly  engrossed  with  the  subject- 
matter.     Then  may  we  look  for 

•'  The  grace  of  action,  the  adapted  mien, 
Faithful  as  nature  to  the  varied  scene  ; 
Th'  expressive  glance,  whose  subtle  comment  draws 
Entranced  attention,  and  a  mute  applause  ; 
Gesture  that  marks  with  force  and  feeling  fraught ; 
A  sense  in  silence,  and  a  will  in  thought : 
Harmonious  speech,  whose  pure  and  liquid  tone 
Gives  verse  a  music,  scarce  confessed  its  own." 

Let  no  one  suppose  that  real  eloquence  can  be 
attained  by  mere  conformity  to  the  rules  of  art.  Art 
produces  the  body  of  eloquence,  which,  however  well 
formed  and  beautiful  in  its  outward  appearance,  must, 


24  MANUAL  OF   GESTURE. 

nevertheless,  have  breathed  into  it  the  breath  of  life. 
Eloquence,  which  is  the  culmination  of  oratory,  has 
been  defined  as  "  logic  on  fire."  Daniel  Webster  says 
of  it,  ''  It  comes,  if  it  come  at  all,  like  the  outbreaking 
of  a  fountain  from  the  earth,  or  the  bursting  forth  of 
volcanic  fires,  with  spontaneous,  original,  native  force." 

The  study  of  oratory  evidently  presupposes  a  knowl- 
edge of  such  branches  as  are  needful  to  supply  the 
orator  with  subject-matter,  and  also  an  acquaintance 
with  the  structure  of  language,  the  principles  of  logic, 
and  the  rules  of  composition ;  and  yet  all  these  pos- 
sessed in  the  highest  degree,  and  combined  with  the 
graces  of  the  most  finished  oratory  are,  of  themselves, 
insufficient  to  make  true  eloquence.  They  need  to  be 
supplemented  with  still  higher  qualities.  To  quote 
again  from  Webster,  there  must  be  "  the  high  purpose, 
the  firm  resolve,  the  dauntless  spirit,  speaking  on  the 
tongue,  beaming  from  the  eye,  informing  every  feature, 
and  urging  the  whole  man  onward,  right  onward  to  his 
object." 

But  since  these  conditions  may  be  met,  the  student 
has  no  occasion  to  despair.  The  advocate  is  supposed 
to  be  sufficiently  zealous  for  his  client,  the  legislator 
for  his  country,  and  the  minister  of  Christ  for  a  lost 
world,  as  to  inspire  all  these  with  genuine  eloquence. 


CHAPTER  11. 


GESTURE. 

Gesture  embraces  the  various  postures  and  motions 
of  the  body ;  as  the  head,  shoulders  and  trunk ;  the 
arms,  hands  and  fingers  ;  the  lower  limbs  and  feet.  It 
is  the  language  of  nature ;  and  hence,  like  the  expres- 
sion of  the  countenance  is  a  universal  language.  While 
the  spoken  or  written  language  of  on6  nation  must  be 
learned  by  the  people  of  another  before  they  can  com- 
municate with  each  other  in  words,  these  visible  signs 
are  understood  by  all  alike.  A  verbal  threat  has  a  dif- 
ferent word  for  each  nationality ;  but  the  uplifted 
clinched  hand  and  the  angry  look  has  the  same  mean- 
ing in  all  countries.  So  in  the  expression  of  friendly 
feeling.  The  assurance  of  good  will  spoken  in  the  ear 
of  a  foreigner  may  be  utterly  misapprehended ;  while 
the  outstretched  hands  accompanied  with  a  conciliatory 
attitude  and  genial  countenance  are  quite  intelligible. 

This  subject  is  well  illustrated  by  the  ancient  panto- 
mimes, who,  without  the  aid  of  words,  recited  entire 
dramas,  and  delivered  the  various  fables  of  the  gods 
and  heroes  of  antiquity,  making  their  gestures  perfectly 
intelligible  to  the  whole  Roman  people,  as  well  as  to 
foreigners.    It  is  related  that  a  barbarian  prince  visiting 


26  MANUAL  OF  GESTURE. 

Rome  in  Nero's  time,  after  witnessing  one  of  these  exhi- 
bitions, requested  the  Emperor  to  allow  him  to  take 
home  with  him  the  principal  actor,  saying  that  he 
had  many  visitors  from  neighboring  provinces  whose 
language  he  could  not  understand,  that  it  was  difficult 
to  procure  interpreters,  and  he  thought  that  by  the  aid 
of  this  pantomime  he  could  easily  make  himself  under- 
stood by  all. 

In  like  manner  the  deaf  mute  communicates  by 
visible  signs ;  and  the  infant  knows  a  smile  from  a 
frown  long  before  words  have  any  meaning.  It  not 
unfrequently  happens  in  a  public  assembly  that  some 
forcible  or  significant  gesture  makes  a  deeper  impres- 
sion than  the  language  which  accompanies  it. 

In  order  to  persuade  men  and  move  them  to  action, 
it  is  obviously  better  to  address  the  eye  and  the  ear 
than  the  ear  alone  ;  and  if  so,  then  it  should  be  done  in 
the  best  manner  possible.  With  the  hands,  to  which 
Quintilian  attributes  the  faculty  of  universal  language, 
we  invite  or  repel,  accept  or  reject,  give  or  withhold, 
welcome  or  deprecate.  By  them  we  indicate  number 
and  quantity,  and  express  abundance  or  destitution, 
exultation  or  dejection.  With  a  motion  of  the  hand 
we  appeal,  challenge,  warn,  threaten  and  scorn.  In 
the  Egyptian  hieroglyphics  language  is  symbolized  by  a 
hand  placed  under  a  tongue.  Cressolius  speaks  of  the 
hand  as  "  the  admirable  contrivance  of  the  divine  artist 
—  the  minister  of  wisdom  and  reason;"  and  adds, 
"  Without  the  hand  no  eloquence." 

The  organic  connection  of  the  vocal  powers  with  cer- 
tain muscles  of  the  body  demands  the  employment  of 


GESTURE.  27 

gesture  as  an  accompaniment  of  animated  speech. 
Oratorical  speaking  is  a  compound  motion  of  the  lungs, 
the  muscles  of  the  glottis,  and  of  the  abdomen ;  and, 
when  accompanied  with  gesture,  the  muscles  of  the 
chest  also.  It  is  manifest  that  the  action  of  these' 
muscles  should  be  corellated  with  appropriate  tones  and 
gestures ;  this  corellation  takes  place  in  the  emphatic 
utterance  of  the  following  command  : 

"  Forward,  the  Light  Brigade  ! " 

the  hand  being  thrown  forward  simultaneously  with 
the  forcible  expulsion  of  the  voice. 

The  necessary  connection  between  muscular  and 
nervous  action  should  also  be  recognized,  and  turned 
to  account  by  the  orator.  On  the  one  hand,  nervous 
excitement  expresses  itself  by  the  muscles  of  the  body ; 
on  the  other  hand,  the  nervous  system  is  aroused  by 
muscular  exertion.  The  lethargic  speaker  may,  there- 
fore, wake  himself  up  by  an  energetic  period  of  ges- 
ture. 

The  degree  of  perfection  to  which  the  art  of  gesture 
was  carried  by  the  ancients  is  shown  from  the  challenge 
of  Cicero  by  Roscius,  the  latter  contending  that  he 
could  express  the  same  idea  in  a  greater  variety  of 
ways  by  his  gestures  than  the  former  could  by  the  use 
of  words. 

It  is  to  be  regretted  that  this  art,  as  perfected  by  the 
old  masters  of  Greece  and  Rome,  was  not  preserved, 
that  along  with  their  orations  we  might  study  their  style 
of  dehvery ;  but  they  seem  to  have  had  no  method  of 
recording  either  tones  or  gestures,  and  hence  the  elo- 
quence   with   which  it  is  said   they  "shook   distant 


28  MANUAL   OF   GESTURE. 

thrones,  and  made  the  extremities  of  the  earth  treml)le," 
must  be  reckoned  among  the  lost  arts. 

"  The  pliant  muscles  of  the  various  face, 
The  mien  that  gave  each  sentence  strength  and  grace, 
The  tuneful  voice,  the  eye  that  spoke  the  mind, 
Are  gone,  nor  leave  a  single  trace  behind." 

By  the  aid  of  a  system  of  notation,  such  as  Mr.  Austin 
has  given  us  in  his  Chironomia,  the  entire  action  of  an 
orator  may  l)e  faithfully  recorded.  Gesture  is  thus 
reduced  to  a  science  ;  and  the  student  is  relieved  from 
the  necessity  of  inventing  for  himself  a  system  of  action 
which,  to  say  the  least,  is  a  needless  ''  waste  of  inge- 
nuity," at  well  as  of  time. 

In  the  general  classification  of  Gesture  we  have : 

I.  Designative  or  Discriminating  Gestures,  used  for 
indicating  or  pointing  out,  and  for  discriminating  be- 
tween different  objects.  These  may  emj)loy  the  index 
finger : 

Ex. — Thou  art  the  man  ;    (Fig.  8i.) 

( )r  the  open  hand  : 

Ex. — I  refer  the  matter  to  these  friends  at  my  right.   (Fig.  i6.) 

II.  Descriptive  Gestures,  which  serve  to  describe 
objects  and  to  represent  numbers  and  space : 

Ex. — Darkness  covered  the  entire  land. 

Here  the  outward  sweep  of  the  prone  hands,  to  the  line 
horizontal  lateral^  describes  the  act  of  covering,  and  also 
shoAvs  the  extent  of  the  darkness.     {See  fir/.  49.) 

III.  Significant  Gestures ;  such  as  placing  the  hand 
on  the  head  to  indicate  distress,  or  the  finger  on  the 
lips  to  enjoin  silence  ;  throwing  up  the  bands  to  express 


GESTURE.  29 

surprise,  or  reaching  them  forward  in  supplication ; 
dropping  the  head  in  shame,  or  holding  it  up  in  pride, 
or  nodding  in  assent  or  salutation ;  bending  the  body 
forward  in  reverence,  throwing  it  back  in  pride,  or 
holding  it  erect  in  courage ;  advancing  in  entreaty, 
retiring  in  fear,  starting  in  terror,  and  stamping  in 
authority, — these  and  similar  postures  and  motions  fall 
under  the  head  of  Significant  Gestures,  the  most  of 
which  are  called  attitudes. 

IV.  Assertive  Gestures ;  employed  not  for  designa- 
tion or  description,  but  for  mere  assertion,  either 
emphatic  or  unemphatic ;  as,  "  The  laws  must  be 
obeyed."     {See  jigs.  8,  9.) 

V.  Figurative  Gestures,  or  Gestures  of  Analogy. 
The  interpretation  of  these  is  based  upon  the  analogy 
between  mere  physical,  and  intellectual  or  moral  con- 
ditions. The  expression  of  ideas  by  means  of  visible 
signs  necessarily  involves  this  principle.  For  an  illus- 
tration, apply  the  same  gesture  to  the  following  sen- 
tences : 

1.  This  is  the  letter  I  brought  you. 

2.  This  is  the  subject  we  are  to  consider. 

Here  the  same  position  and  movement  of  the  hand 
presents,  first,  a  visible  object,  and  then  a  mental  prop- 
osition. 

Compare  the  following  examples : 

1.  Arrest  that  criminal. 

2.  Arrest  that  fugitive  thought. 

In  this  case  we  employ  the  gesture  right  hand  hori- 
zontal front  prone^  to  describe  both  the  physical  act  and 
the  corresponding  mental  conception.     (^See  fig,  36.) 


30  MANUAL  OF  GESTURE. 

Notice  also  the  following : 

1.  We  deposit  this  body  in  the  earth. 

2.  All  personal  feeling  he  deposited  upon  the  altar  of  his  country. 

Both  the  physical  and  the  moral  idea  of  deposition 
are  here  expressed  with  both  hands  descending  front 
supine.     (^Fig.  22.) 

This  analogy  may  be  quite  remote. 

Ex. — I.  The  youth  wandered  far  from  the  parental  roof, 
2.  Blind  unbelief  is  sure  to  err. 

To  err  is  to  wander  from  the  truth  ;  hence  we  assign  to 
the  second,  as  well  as  to  the  first,  the  gesture  of  wander- 
ing— right  hand  horizontal  lateral  supine.     {Fig.  16.) 

Whether  an  idea  is  expressed  literally  or  figuratively, 
the  gesture  is  the  same. 

The  student  will  observe  the  coincidence  between 
the  class  of  gestures  last  mentioned  and  some  of  the 
preceding.  A  gesture  of  analogy,  for  instance,  may 
also  be  a  descriptive  gesture.  Take  the  example, 
"  Darkness  covered  the  entire  land ;  "  substitute  spiritual 
for  literal  darkness,  and  the  gesture  is  purely  figurative, 
but  no  less  descriptive  than  before. 

By  another  principle  of  division,  gestures  may  be 
classified  according  to  the  style  of  delivery.  Mr.  Aus- 
tin gives  three  different  styles  :  Epic,  Rhetorical  and 
Colloquial ;  and  describes  the  various  qualities  which 
belong  to  them.  The  qualities  of  gesture,  as  enumer- 
ated by  him,  are  Magnificence,  Boldness,  Energy, 
Variety,  Simplicity,  Grace,  Propriety,  and  Precision. 
The  following  descriptions  are,  for  the  most  part,  taken 
from  the  Chironomia : 

Magnificence  of  Gesture  consists  in  the  ample  space 


GESTURE.  31 

through  which  the  arm  and  hand  are  made  to  move. 
The  motions  of  the  head  are  free,  and  the  inflections  of 
the  body  manly  and  dignified,  and  the  feet  traverse  a 
considerable  space  with  firmness  and  force.  The  oppo- 
site faults  are  short  and  constrained  gestures,  with  stiff- 
ness of  the  body,  and  doubtful  or  timid  movements. 

Boldness  consists  in  that  elevated  courage  and  self- 
confidence  which  ventures  to  hazard  any  action  pro- 
ductive of  a  grand  or  striking  effect.  In  this  sort  of 
gesture,  unexpected  positions,  elevations  and  transi- 
tions, surprise  at  once  by  their  novelty  and  grace,  and 
thus  illustrate  or  enforce  ideas  with  irresistible  effect. 
The  opposite  fault  is  tameness,  which  hazards  nothing, 
and  is  timid  and  doubtful  of  its  powers. 

Energy  consists  in  the  firmness  and  decision  of  the 
whole  action,  and  in  the  support  which  the  voice 
receives  from  the  precision  of  the  stroke  of  the  gesture. 
The  opposite  faults  are  feebleness  and  indecision. 

Variety  consists  in  the  ability  of  readily  adapting 
suitable  gestures  to  each  sentiment,  so  as  to  avoid 
recurring  too  frequently  to  favorite  gestures.  The 
opposite  faults  are  sameness  and  barrenness  of  gesture, 
analogous  to  monotony  of  voice. 

Simplicity  consists  in  using  such  gestures  as  appear 
the  natural  result  of  the  situation  and  sentiments ; 
neither  going  beyond  the  just  extent  of  the  feelings, 
nor  falling  short  of  it.    The  opposite  fault  is  affectation. 

Grace  of  Gesture  is  the  result  of  all  other  perfections, 
and  consists  chiefly  in  the  facility,  freedom,  variety  and 
simplicity  of  the  action.  It  is  attained  by  persevering 
practice   after  the  best  models  and  according  to  the 


32  MANUAL  OF  GESTURE. 

truest  taste.  The  opposite  faults  are  awkwardness  and 
rusticity. 

Propriety,  called  also  Truth  of  Gesture,  or  Natural 
Gesture,  consists  in  the  judicious  use  of  those  move- 
ments which  are  best  suited  to  the  sentiment.  The 
opposite  imperfections  are  false,  contradictory  or  unsuit- 
able gestures. 

Precision  of  Gesture  arises  from  the  just  preparation, 
the  due  force,  and  the  correct  timing  of  the  action. 
The  preparation  is  neither  too  much  abridged  nor  too 
pompously  displayed.  The  stroke  is  made  with  that 
degree  of  force  which  suits  the  character  of  the  senti- 
ment and  speaker,  and  occurs  on  the  precise  syllable  to 
be  enforced.  Precision  gives  the  same  effect  to  action 
that  neatness  of  articulation  gives  to  speech.  The  op- 
posite faults  are  the  indecision  and  uncertainty  arising 
from  vague  and  sawing  gestures,  which  obscure  the 
sentiment  and  distract  the  spectator. 

Epic  Gesture  requires  all  these  qualities  in  perfection. 
The  compositions  requiring  epic  gesture  are  tragedy, 
epic  poetry,  lyric  odes,  and  sublime  description. 

Rhetorical  Gesture  requires  principally  energy, 
variety,  simplicity  and  precision.  Grace  is  desirable ; 
boldness  and  magnificence  may  sometimes  have  place. 

Colloquial  Gesture  principally  requires  simplicity  and 
grace.  Precision  will  naturally  follow.  Energy  and 
variety  may  be  sometimes  demanded ;  magnificeuce 
and  l)oldness  are  inadmissible.  In  Colloquial  Gesture 
the  elbow  instead  of  the  shoulder  becomes  the  center 
of  motion ;  hence  the  movements  are  shorter  and  less 
flowing,  neither  is  the  action  so  frequent  as  in  the 
rhetorical  style. 


gesturf:.  38 

Position. — In  the  study  of  rhetorical  action,  Position 
is  the  first  thing  to  be  attended  to.  Says  Mr.  Austin  : 
''  Graceful  position  precedes  graceful  action."  Facility 
of  movement  is  essential  to  both ;  hence  the  public 
speaker  should  stand  erect  and  firm  ;  not  rigid,  but  easy 
and  natural,  with  the  weight  of  the  body  resting  mainly 
upon  one  foot,  so  that  the  other  may  be  readily  used  in 
changing  the  position,  as  occasion  may  require.  The 
supporting  limb  should  be  straight,  and  the  knee  of  the 
other  slightly  bent. 

The  positions  suited  to  the  ordinary  purposes  of  pub- 
lic speaking  are  few  and  simple.  They  may  be  desig- 
nated as  follows : 

First  Position. — Right  foot  advanced,  the  left  sup- 
porting the  weight  of  the  body. 

Second  Position, — Right  foot  advanced,  supporting 
the  body. 

Third  Position. — Left  foot  advanced,  the  ri^ht  sup- 
porting. 

Fourth  Position. — Left  foot  advanced,  supporting. 

The  feet  should  be  placed  with  the  toes  turned  out- 
ward, making  an  angle  of  about  seventy  degrees  in  the 
retired  positions,  and  ninety  in  the  advanced.  The 
space  between  the  feet  should  be  three  or  four  inches, 
or  about  the  breadth  of  the  foot.  This,  however,  applies 
to  the  positions  adapted  to  reading  or  to  unimpassionod 
speaking.  In  impassioned  delivery  these  positions  may 
l)e  so  modified  as  virtually  to  increase  their  number. 
The  spaces  will  be  wider,  and  the  angles  will  vary  to 
suit  the  purpose  of  the  speaker. 


34  MANUAL  OF  GESTUHE. 


Fig.  1.  Fig.  2. 

Figure  1  represents  the  first  position.  The  principal 
weight  of  the  body  rests  upon  the  foot  that  is  deeply 
shaded  in  the.  plan.  The  other  foot,  lightly  shaded, 
rests  lightly  upon  the  floor.     (^See  also  jig.  8.) 

The  change  from  the  first  to  the  second  position  is 
made  by  stepping  forward  with  the  right  foot,  about 
half  its  length,  and  throwing  the  principal  weight 
upon  it ;  only  that  part  of  the  left  which  is  shaded  in 
the  plan,  as  shown  in  fig.  2,  resting  upon  the  floor. 
(^See  also  fig.  9.)  The  third  and  fourth  positions  are 
simply  the  reverse  of  these. 

Earnest  appeal,  bold  assertion,  and  impassioned 
speech  carry  the  body  forward  to  one  of  the  advanced 
positions. 

Calm,  unimpassioned  discourse,  also  firmness,  and 
resistance,  take  one  of  the  retired  positions. 

From  each  of  the  positions  given  above  four  steps 
may  be  made  with  the  foot  not  supporting  the  body. 
The  central  feet  in  fig.  3  stand  in  the  first  position, 
the  right  foot,  being  free  to  move,  may  advance,  retire. 


GESTURE. 


36 


traverse  to  the  right  and  to  the  left ;  the  various  steps 
finishing  as  numbered  and  shaded  in  the  diagram.  The 
lines  traced  by  the  free  foot  are  each  marked  with  a  star. 


•indlP 


"S 

M 


%^ 


2nd  p. 


\ 


IsER. 


>^ 


SrdP 

Fig  3. 


/ 


>^ 


ixtr 


' r --^W 


istR 


UtI 


Fig.  4. 
Fig.  4  shows  the  corresponding  steps  from  the  second 
position.    It  will  be  observed  that  here,  in  crossing,  the 


'?>f\  ISfAKTTAL   OF   GESTURE. 

free  foot  passes  behind  the  other,  whereas  in  crossing 
from  the  first  position  it  passes  before  the  other. 
Neither  of  these  steps  should  be  made  except  in  rare 
cases. 

The  following  directions  from  Mr.  Austin  should  be 
carefully  observed : 

"  In  changing  the  positions  of  the  feet,  the  motions 
are  to  be  made  with  the  utmost  simplicity.  The  speaker 
must  advance,  retire,  or  change,  almost  imperceptibly ; 
and  it  is  to  be  particularly  observed  that  changes  should 
not  be  too  frequent,  as  this  gives  the  idea  of  anxiety,  or 
instability." 

The  following  is  also  taken  from  the  Chironomia : 

''  The  trunk  of  the  body  is  to  be  well  balanced  and 
sustained  erect  upon  the  supporting  limb.  Whatever 
the  speaker's  position  may  be,  he  should  present  him- 
self, as  Quintilian  expresses  it — a^quo  pectore — with  the 
breast  fully  fronting  his  audience,  and  never  ifi  the 
fencing  attitude  of  one  side  exposed.  What  Cicero 
calls  the  virilis  flexus  laterum — the  manly  inclination  of 
the  sides — should  also  be  attended  to  ;  for,  without  this 
position,  tlu  bod}^  will  seem  awkward  and  ill  balanced. 
The  inclination  of  the  sides  withdraws  the  upper  part 
of  the  body  from  the  direction  of  the  sustaining  limb, 
and  inclines  it  the  other  way,  Avhilst  it  throws  the  lower 
part  of  the  body  strongly  on  the  line  of  the  supporting 
foot.  In  this  position  the  figure  forms  that  gentle  curve 
or  waving  line  which  painters  and  statuaries  consider 
as  appropriate  to  grace. 

''  The  gesture  of  the  arms  and  hands  must  receive  a 
a  slight  accompanying  movement  of  the  trunk,  and  not 


GESTURE.  37 

proceed  from  it  as  from  a  rigid  log.  Whilst  care  is 
taken  to  avoid  affected  and  ridiculous  contortions,  there 
must  be  a  manly  and  free  exertion  of  the  muscles  of  the 
whole  body,  the  general  consent  of  which,  is  indispens- 
able to  graceful  action." 

The  remarks  of  Professor  Russell  will  also  be  service- 
able to  the  student : 

"•'  The  true  time  of  movement  is  in  exact  coincidence 
with  emphasis,  and  falls  appropriately  on  the  accented 
syllable  of  the  emphatic  word.  The  voice  and  the 
bodily  frame  are  thus  kept  in  simultaneous  action  witli 
the  mind.  Movement  so  performed  never  obtrudes 
itself  on  the  attention,  but  becomes  a  natural  part  of 
the  whole  delivery.  The  changes  of  position  should 
always  be  made  (except  only  the  retiring  movement, 
at  the  close  of  a  paragraph,  or  of  a  division  of  the  sub- 
ject) during  the  act  of  speaking^  and  not  at  the  pauses." 

The  position  of  the  head  should  be  natural  and  easy  ; 
neither  so  far  back  as  to  give  the  idea  of  haughtiness, 
thus  showing  a  want  of  respect  for  the  audience,  nor 
so  far  forward  as  to  imply  submissiveness  and  a  want  of 
self-respect.  The  head  should  move  easily,  but  not 
rapidly,  from  side  to  side. 

In  the  mechanical  execution  of  gesture  we  employ 
straight  lines  and  curves  ;  as  in  geometry,  to  which  the 
laws  of  gesture  are  referable.  Straight  lines,  which 
indicate  directness  of  thought,  are  employed  to  express 
bold,  energetic  and  abrupt  ideas.  The  curved  lines  are 
used  in  more  calm  and  quiet  states  of  mind,  to  express 
gentle  and  genial  thoughts  and  emotions,  and  are  also 
adapted  to  the  boldest  flights  of  oratory. 


38  MAKUAL  OP   GESTURE. 

Gestures  are  quick  or  slow,  and  range  through  large 
or  small  space,  accordmg  to  the  character  of  the  dis- 
course, and  the  feelings  and  circumstances  of  the 
speaker.  In  the  unimpassioned,  or  mere  narrative  or 
didactic  parts  of  a  discourse,  gestures  should  be  few  in 
number,  limited  in  space,  and  moderate  in  time ;  but 
as  the  subject  gathers  interest  and  the  speaker  warms, 
they  should  be  more  profuse,  varied  and  energetic. 
The  action  should  be  accommodated  also  to  the  size  of 
the  room  and  the  number  of  the  audience.  The  fol- 
lowing general  directions  w^ill  be  a  sufficient  guide  : 

Forcible  utterances  and  vehement  emotions  are  ex- 
pressed with  quick  time ;  calm,  quiet,  and  subdued 
thoughts  and  feelings,  with  slow  time. 

Solemn  and  deliberate  assertions  require  large  space 
and  slow  movement;  lively  expressions  limited  space 
and  quick  movement. 

"  The  gesture  of  the  public  speaker  must  vary  with 
his  circumstances.  If  the  object  be  merely  to  instruct 
his  audience,  he  will  limit  himself  to  a  very  small 
degree  of  gesture.  He  will  avoid  all  parade  of  prep- 
aration, and  all  the, graces  of  transition,  and  give  only 
that  degree  of  variety  that  is  necessary  to  relieve  his 
gestures  from  sameness.  This  is  far  removed  from  the 
theatrical,  and  nearly  approaches  the  colloquial  style. 
When  the  speaker  aims  to  persuade,  and  upon  extra- 
ordinary occasions,  he  will  naturally  use  more  graceful, 
more  flowing,  and  more  varied  gestures." — Austin. 

It  is  not  designed  that  this  study  shall  necessarily 
increase  the  number  of  gestures  Avhich  the  student  has 
been  accustomed  to  use.     What  most  speakers  need  is. 


GESTURE.  39 

not  a  greater  number,  but  a  greater  variety.  The  con- 
stant recurrence  of  two  or  three  different  motions  shows 
a  poverty  of  resource  that  may  find  its  remedy  in  a 
better  acquaintance  with  the  laws  of  expression.  On 
the  other  hand  many  need  to  study  this  subject  that 
they  may  abridge  their  action,  like  the  awkward  youth 
whose  father  sent  him  to  the  dancing  master,  that  he 
migfht  learn  to  stand  still. 


CHAPTER  III. 


NOTATION   OF   GESTURE. 


The  lines  of  gesture  take  three  general  directions — 
descending,  horizontal,  and  ascending.  Each  of  these 
has  four  subdivisions — front,  oblique,  lateral,  and  oblique 
backwards.  The  descending  gestures  carry  the  hand 
forty-five  degrees  below  the  horizontal  line ;  the  ascend- 
ing, forty -five  above.     The  points  designated  by  the 

four  subdivisions  are 
also  forty-five  degrees 
apart.  This  entire  sys- 
tem is  represented  in 
///.  5.  The  vertical  lines 
nearest  the  speaker 
(1,1)  are  lines  in  front; 
the  next  lines  —  forty- 
five  degrees  to  the 
right  and  left  of  these 
(2,  2)  are  the  oblique; 
forty-five  degrees  far- 
ther are  the  lateral 
(3,3) ;  and  back  of  these 
the  same  distance,  the 
X^iG.  5.  dotted  lines  (4,  4)  are 


NOTATION  OF   GESTURE.  41 

the  oblique  hackward».  In  the  transverse  direction  the 
circular  lines  (5,  6,  7)  are  called  respectively  descending^ 
horizontal  and  ascending.  The  points  where  these  lines 
intersect  each  other,  furnish  the  names  of  the  gestures 
so  far  as  relates  to  the  direction  of  the  arm  ;  and  these 
several  directions  are  indicated  by  the  initial  letters : 
d.  f.,  descending  front ;  d.  o.,  descending  oblique  ;  d.  1., 
descending  lateral ;  d.  o.  b.,  descending  oblique  back- 
wards. The  same  order  is  followed  on  the  next  line 
above :  h.  f.,  horizontal  front,  etc. ;  and  above  this  we 
have  a.  f.,  ascending  front,  etc.  This  gives  us  twelve 
gestures  with  the  right  hand  supine.  When  the  gesture 
takes  the  prone  or  the  vertical  position  of  the  hand,  the 
letter  p.  or  v.  is  added  to  the  notation  ;  and  where  both 
hands  are  to  be  employed,  this  is  indicated  by  prefix- 
/>.  A.,  thus  :  b.  h.  d.  f.  p.  is  to  be  read,  both  hands  descend- 
ing front  prone.  The  other  combinations  will  be  readily 
formed  from  the  table  of  abbreviations. 

By  thus  changing  the  position  of  the  hands,  and 
executing  the  gestures  with  one  hand  and  with  both, 
we  have  a  system  embracing  fifty-six  different  gestures 
(exclusive  of  thirty-two  with  the  left  hand,  which  are 
admissible  in  rare  cases).  These,  executed  in  various 
ways — in  straight  lines  and  curves,  through  large  and 
small  space,  with  quick  and  slow  movement,  and  accom- 
panied with  an  endless  variety  of  changes  in  attitude 
and  facial  expression,  together  with  the  movements 
denominated  special  gestures,  furnish  a  vocabulary  of 
gesture  commensurate  with  the  realm  of  thought  and 
feeling. 

The  descending  gestm-e»  belong  to  the  sphere  of  the 


42  IMANUAL   OF   GESTURE. 

Will,  and,  therefore,  predominate  in  strong  resolve  and 
determination,  in  bold  and  emphatic  assertion,  and 
vehement  argumentation. 

The  horizontal  lines  belong  more  especially  to  the 
realm  of  Intellect,  and  are  employed  in  general  thought, 
and  in  historical  and  geographical  allusions. 

The  ascending  gestures  belong  to  the  Imagination. 
These  are  employed  in  sublimity  and  general  elevation 
— ^physical,  intellectual  and  moral. 

The  gestures  in  front  are  generally  direct  and  per- 
sonal, and  also  more  emphatic  than  others. 

The  oblique  gestures  are  more  general  in  their  appli- 
cation, and  less  emphatic  than  those  in  front. 

The  lateral  gestures,  except  in  special  cases,  as  in 
aversion,  repulsion,  and,  it  may  be,  in  special  designa- 
tion, are  still  less  emphatic. 

The  gestures  oblique  backwards  indicate  remoteness, 
and  are  occasionally  used  to  extend  an  idea  farther 
than  can  be  well  expressed  in  the  lateral  line. 

The  analysis  of  gesture  shows  three  minor  move- 
ments :  Preparatory,  Executionary  and  Return.  These 
taken  together  constitute  a  Period  of  gesture ;  or  a 
period  may  embrace  a  combination  of  gestures,  begin- 
ning with  the  preparation,  extending  through  a  series, 
and  finishing  with  the  return  movement. 

Preparation. — The  hand,  in  preparation  for  the 
gesture,  is  brought  up  on  the  oblique  line,  that  is,  mid- 
way between  the  front  and  the  lateral.  In  general, 
it  should  not  be  raised  above  the  head.  In  lifting  the 
hand,  special  care  should  be  taken  (except  in  colloquial 
gestures)  to  make  the  shoulder,  and  not  the  elbow,  the 


NOTATION  OF  GESTUBE. 


48 


Fig.  6. 


center  of  motion.  In  other  words, 
lift  the  whole  arm,  and  not  merely 
the  fore-arm.  Let  the  hand  pass 
through  all  the  space  designated  by 
the  curved  line  in  fig.  6.  In  prac- 
ticing this  movement,  it  is  well  at 
first  to  pause  at  the  horizontal  line 
(2),  and  then  make  the  angle  by 
bringing  the  hand  to  the  head  (3). 
The  careful  observance  of  this  direc- 
tion will  aid  very  much  in  securing 
freedom  of  action.  Indeed,  the  grace 
and  effectiveness  of  oratorical  action 
depend  largely  upon  the  proper 
execution  of  the  prej)aratory  movement.  It  must  be 
well  timed,  and  in  harmony  with  the  rhetoric  as  well 
as  with  the  sentiment.  Except  in  comic  and  tragic 
recitation,  there  should  be  no  sudden  jerking  of  the 
arm  ;  nor,  as  a  rule,  should  the  hand  be  thrust  out  with- 
out some  preparatory  action.  In  demonstration,  calm 
reasoning  and  simple  narrative,  where  little  gesture  is 
needed,  and  that  of  a  moderate  style,  the  hand  should 
seldom  be  raised  to  the  head,  but  may  be  arrested  at 
any  point  above  the  descending  line  of  gesture,  accord- 
ing to  the  sentiment  and  circumstances.  Animated 
delivery,  and  especially  emphatic  utterance,  require  a 
corresponding  fulness  and  force  of  preparation. 

Examples.— 1.  I  cordially  accede  to  your  request, 
r.  h.d.  f. 

Here  the  hand  in  preparation  is  raised  scarcely  above 
the  terminal  point  of  the  gesture. 

3 


44  MANUAL  OF   GESTURE. 

2.  This  position  I  will  maintain  to  the  last. 

r.h.d.f. 

This  lifts  the  hand  to  the  head,  in  order  to  gain 
space  through  which  to  bring  it  down  with  greater 
emphasis.  Compare  the  uplifted  hand  in  fig.  6  with 
figs.  8  and  9. 

The  preparation  is  also  deliberate  or  rapid,  according 
•to  the  sentiment  or  the  degree  of  emphasis  required. 

Ex. — I.  Treasurest  up  unto  thyself  wrath  against  the  day  of  wrath? 

r.  h.  h.  f. 

In  this  case  the  deliberate  lifting  of  the  hand  to  the 
head  should  correspond  with  the  deliberate  utterance  of 
the  words  preceding  day^  upon  which  the  gesture 
occurs.  Prolonged  preparation  excites  attention  and 
enforces  gesture. 

2.  Freedom  calls  you  !     Quick,  be  ready. 

b.h.h.o. 

In  this  example,  the  hands  are  suddenly  thrown  up- 
ward on  the  first  word;  the  preparation  is  then  arrested 
until  the  last  word  is  reached,  when  they  are  brought 
down  forcibly  upon  that  word.  The  uplifting  of  the 
hands  in  this  case,  as  in  many  others,  is  both  a  prepara- 
tory and  an  expressive  act.  The  preparation  is  some- 
times even  more  expressive  than  the  gesture  which 
follows. 

It  should  be  carefully  observed  that  that  part  of  a 
sentence  which  precedes  the  emphatic  word  usually 
takes  the  preparation. 

When  the  gesture  occurs  upon  the  first  word  in  the 
sentence,  there  should  be  a  pause  in  the  voice  previous 
to  uttering  that  word,  to  allow  time  for  the  preparatory 
action. 

Ex. — 1.  Fade  flowers  !  fade  ;  nature  will  have  it  so. 
d.o.  p.  rep.  d.o. 


NOTATION  OF   GESTURE.  46 

2.  I^ash,  fruitless  war,  from   wanton  glory  wag'd, 
r.h.d.f.   r.h.d.l.  r.h.h.l. 

Is  only  splendid  murder. 
b.  h.  d.  f. 

3.  What  I  threat  you  me  with  telling  of  the  king? 

h.f.  h.o. 

The  preparation  frequently  occurs  upon  a  single 
syllable,  the  gesture  proper  taking  the  succeeding  syl- 
lable. 

Ex. — Away  Wxih private  wrongs, 
d.  1.  imp. 

Arreated  Preparation. —  After  the  hand  is  raised  in 
preparation  for  the  gesture,  the  effect  may  sometimes 
be  heightened  by  arresting  or  suspending  the  action 
(luring  a  rhetorical  pause  in  speech,  or  while  uttering 
some  significant  word,  phrase  or  sentence.  The  sub- 
ject of  a  sentence  often  requires  an  arrested  prejjaration, 
the  action  being  consummated  in  the  predicate.  In  the 
following  passage : 

"  As  the  heaven  is  high  above  the  earth,  so  great  is  His  int-rcy 
toward  theni  that  fear  Him,"  •°- 

the  hand  is  slowly  raised  upon  the  first  clause  ;  the 
preparation  is  then  arrested  until  the  emphatic  word  is 
readied,  >vhen  the  hand  is  brought  down  to  the  descend- 
ing oblique.  The  effect  of  suspending  the  action  in  this 
manner  is  analogous  to  the  rhetorical  pause  in  speech. 
The  ExECUTiONARY  Movement,  or  gesture  proper,  is 
made  upon  the  emphatic  word,  phrase  or  sentence,  the 
ietus^  or  emphatic  stroke^  at  the  terminus,  occurring  upon 
the  accented  syllable.  As  the  hand  approaches  its 
destined  point,  by  an  additional  movement  of  the  wrist 
joint  it  springs  with  increased  velocity  to  the  termina- 
tion, and  thus  marks  with  precision  the  accented  syl- 


46  MANUAL  OF   GESTURE. 

lable.  With  respect  to  the  space  and  time  of  the  action, 
the  same  rules  which  govern  the  preparation,  apply 
with  equal  force  to  the  executionary  movement.  Action 
not  suited  to  the  word  is  better  omitted.  A  single 
example  will  serve  to  illustrate  the  importance  of  cor- 
rectly timing  the  gesture : 

"  Spread  wide  around  the  heaven-breathing  calm." 

Apply  to  these  words  the  gesture  both  hands  horizon- 
tal  lateral  prone  {Fig.  49),  pronouncing  very  slowly, 
and  then  increase  the  rate  of  utterance  until  there  is 
no  time  for  that  deliberate  movement  of  the  hands 
which  the  sentiment  requires.  It  will  be  seen  that 
with  too  slow  an  utterance  the  gesture  is  finished  too 
soon  for  the  words ;  and  with  rapid  speaking  the  ges- 
ture must  either  be  more  animated  than  the  descriptive 
idea  will  allow,  or  fall  so  far  behind  the  words  as  to 
appear  affected  and  puerile.  "  The  most  flowing  and 
beautiful  motions,"  says  Mr.  Austin,  "the  grandest 
preparations,  and  the  finest  transitions  of  gesture,  ill 
applied  and  out  of  time,  lose  their  natural  character 
of  grace,  and  become  indecorous,  ridiculous,  or  offen- 
sive." 

In  the  Return  Movement,  after  a  gesture  or  a  series 
of  gestures  is  completed,  the  muscles  should  relax  so  as 
to  allow  the  hand  to  fall  naturally  and  easily.  Like 
the  preparation,  this  may  sometimes  serve  as  an  expres- 
sive act.  Entire  cessation  or  nonentity  may  occasion- 
ally be  expressed  more  effectively  by  dropping  the 
hand  upon  certain  words,  than  by  any  other  movement. 

Ex. — I.  He  loosed  the  steed  ;  his  slack  hand/V/. 

drop. 


NOTATIOK  OF  GESTURE.  47 

2.  Like  the  lily, 

d.o. 
That  once  was  mistress  of  the  field,  that  flourished, 
h.  o.  imp. 

I'll  hang  my  head  and  perish. 
drop. 

3.  The  time  for  tender  thoughts  and  soft-endearments 

\%  fled  away  and  gone. 
d.  1.  drop. 

To  secure  ease  and  grace  of  action,  all  the  joints  of 
the  arm  and  hand — the  shoulder,  the  elbow,  the  wrist, 
and  the  finger — must  move  with  perfect  freedom. 
"Without  the  free  use  of  the  wrist-joint,  particularly, 
there  can  be  no  grace.  The  effective  execution  of  the 
emphatic  stroke  at  the  terminus  of  the  gesture,  depends 
largely  upon  the  flexibility  of  the  wrist-joint.  While 
the  student  of  Elocution  should  study  strength  and 
manliness  before  grace,  he  should,  at  the  same  time, 
carefully  avoid  ungraceful  action. 

Repeating  the  Gesture.  —  When  the  idea  is 
repeated,  either  in  the  same  or  in  other  words,  or  when 
successive  reference  is  made  to  the  same  person,  place, 
or  thing,  the  gesture  may  be  repeated. 

Ex. — Which  show  the  works  of  the  law  written  in  their  hearts ;  their 

conscience  also  bearing  witness,  ^'         °" 

repeat. 

This  is  often  done  merely  for  emphasis.  The  repeated 
gesture  should  then  be  larger  and  more  forcible  than 
the  first ;  the  preparation  carrying  the  hand  higher, 
and  still  higher,  as  the  increasing  emphasis  demands. 

^C\. — I.  On  them,  Huzzars  !  in  thunder  ox\  them  wheel ! 
b.  h.  h.  f.  repeat, 

2.  Charge  !  Chester,  Charge  I     On,  Stanly,  on  I 
r.  h,  h.  f,  rep.        r.  h.h,  f,  rep, 

3.  Nearer,  clearer,  deadlier  than  before, 
b.  h  d.  f.      rep.  rep. 


48  MANUAL  OF  GESTUBE. 

This  persistency  of  gesture,  judiciously  used,  is  very 
effective ;  but  must  not  be  carried  into  mannerism. 
"  Do  not  saw  the  air  thus." 

Impulse. — When  less  emphasis  is  required,  instead 
of  repeating  the  gesture,  there  may  be  a  slight  impulse 
— a  repetition  of  the  wrist  movement.  The  pupil,  how- 
ever, must  be  cautioned  against  excess  in  this  direction. 
The  habit  of  constantly  repeating  the  ictus  of  the  ges- 
ture is  a  fault  of  oratory. 

SusTENTATiON  OF  GESTURE. — After  the  stroke  of 
the  gesture  upon  the  emphatic  word,  the  hand  should 
remain  in  position  until  the  full  effect  is  produced.  To 
drop  it  too  soon,  weakens  the  gesture. 

Ex. — I,  I  appeal  to  you,  sir,  for  the  decision, 
r.  h.  h.  f.  sus. 

Here  the  gesture  should  be  sustained  until  the  whole 
sentence  is  completed.  Keep  the  hand  in  the  position 
horizontal  front,  as  if  waiting  for  the  decision. 

2.  How  vain  all  outward  efforts  to  supply 

r.h.h.l. 

The  soul  with  joy  ! 

sus.  to  the  close. 

3.  Tradition's  pages 
r.  h.  h.  o.  b. 

Tell  not  the  planting  of  the  parent  tree. 

sus. 

In  the  last  examples  the  gesture  is  sustained  beyond 
the  usual  limit ;  when  the  sentiment  admits  of  it,  the 
effect  is  heightened  thereby.  Like  the  arrested  prep- 
aration, this  maybe  called  a  rhetorical  pause  in  gesture. 

The  following  abbreviations  embrace  the  system  of 
notation  to  be  used  in  recording  gesture  according  to 
the  plan  of  this  Manual.  In  notating  gestures  the  s.  may 
be  omitted  from  the  supine  hand,  and  r.  h.  from  ges- 


NOTATION   OF   GESTUKE.  4S 

tures  to  be  made  with  the  right  hand  singly,  or  these 
may  be  expressed,  at  the  option  of  the  student.  When 
the  position  of  the  hand  is  not  notated,  it  is  to  be  under- 
stood supine ;  and  when  it  is  not  indicated  whether 
one  or  both  hands  are  to  be  used,  the  right  hand  is 
understood. 

d.  f.,  descending  front. 

d.  o.,  '•  oblique. 

d.  1.,  •*  lateral. 

d.  o.  b.,      ''  oblique  backwards. 

h.  f.,  horizontal  front. 

h.  o.,         ''  oblique. 

'      h.  1.,  ''  lateral. 

h.  o.  b.,    "  oblique  backwards. 

a.  f.,  ascending  front. 

a.  o.,         ''  oblique. 

a.  L,  ''  lateral. 

a.  o.  b.,    "  o})li([ue  backwards, 
r.  h.,  right  hand. 

1.  li.,  left  hand. 

b.  h.,  both  hands. 
s.,  supine. 

]).,  prone. 

v.,  vertical. 

i.  or  ind.,  index  linger. 

iq)l.,  uplifted. 

par.,  parallel. 

cli.,  clinched. 

cla.,  clasped. 

ap.,  applied. 

fol.,  folded. 

cro.,  crossed. 

prep.,  preparation. 

rep.,  repeat. 

imp.,  impulse. 

sus.,  sustain. 

tr.,  tremor. 


50  MAKITAL  OF  GESTURE. 

The  initial  letters  placed  under  a  given  word  indicate 
the  gesture  for  that  word  ;  as, 

Humility  and  modesty  are  cardinal  virtues, 
prep.  r.  h.  h.  o.  s.  imp.  sus. 

This  notation  indicates  that  the  hand  is  to  be  lifted,  in 
preparation  for  the  gesture,  upon  humility ;  that  the 
gesture  right  hand  horizontal  oblique  supine  occurs 
upon  modesty ;  that  an  impulse  of  the  hand,  or  partial 
repetition  of  the  gesture,  is  made  upon  cardinal ;  and 
that  the  action  is  to  be  sustained  to  the  close  of  the 
sentence.  This,  however,  may  be  abridged.  The  prep- 
paration  and  the  sustentation  seldom  need  to  be  notated, 
and  the  letters  h.  o.  would  suffice,  in  this  case,  for  the 
gesture,  the  right  hand  supine  being  understood. 

The  gestures  which  a  given  example  is  specially 
intended  to  illustrate  occur  upon  the  capitalized 
words.  Other  gestures  in  the  same  example  are  indi- 
cated by  the  letters  placed  under  the  italicized  words. 
As  a  rule,  only  the  former  need  be  noticed  at  first. 
After  the  student  shall  have  gone  carefully  through 
the  book,  executing  the  gestures  occurring  upon  the 
capitalized  words,  and  studying  their  interpretations, 
he  will  find  great  advantage  from  a  review,  in  which 
these  gestures  shall  again  be  executed  with  their  com- 
binations, as  indicated  by  the  words  in  italics. 

It  will  be  observed  that  when  no  other  gesture  occurs 
in  the  example  except  the  one  illustrating  the  principle 
under  consideration,  the  notation  is  omitted,  the  capital 
letters  being  a  sufficient  guide.  When  a  single  gesture 
is  assigned  to  a  phrase  or  clause,  it  is  intended  that  the 
executionary  movement  shall  be  made  to  extend  over 
all  the  words  embraced. 


NOTATION  OF  GESTTJBE.  51 

Although  different  examples  are  generally  given  for 
the  different  gestures  throughout  these  pages,  it  will 
not  unfrequently  occur  that  a  given  passage  would  be 
as  appropriately  expressed  with  some  other  gesture  than 
the  one  assigned  to  it.  This  must  be  determined  by 
the  state  of  the  speaker's  mind,  or  by  the  circumstances 
in  which  the  language  is  spoken.  Passages  ordinarily 
requiring  only  a  moderate  degree  of  emphasis  might,  in 
other  circumstances,  employ  more  emphatic  gestures. 
Language  in  itself  unemotional,  may,  under  certain 
conditions,  become  highly  impassioned,  and  require 
corresponding  action.  The  index  finger,  or  even  the 
clinched  hand,  may  then  be  employed,  when  at  other 
times  the  open  hand  would  sufiice  ;  both  hands  may  be 
used  instead  of  one  ;  the  straight  line  may  take  the 
place  of  the  curve,  and  vice  versa.  Indeed,  no  two  per- 
sons, however  well  acquainted  with  the  subject,  would 
be  likely  to  employ  precisely  the  same  gestures  through- 
out a  given  recitation,  although  they  might  equally 
conform  to  the  laws  of  expression.  Differences  might 
arise,  not  only  from  different  conceptions  of  the  author's 
meaning  in  some  passage  rendered,  but  from  a  dis- 
similarity of  temperament,  taste,  mood,  or  surroundings. 

To  suppose  that,  in  every  instance,  a  given  sentence 
or  paragraph  must  necessarily  be  expressed  with  a  cer- 
tain style  of  gesture,  and  that  any  deviation  from  this 
would  be  false  or  inappropriate,  Avould  not  only  be 
radically  erroneous,  but  would  greatly  embarrass,  if  not 
wholly  discourage,  the  student  of  oratory.  While  the 
general  principles  laid  down  in  this  treatise  should 
govern  in  the  choice  of  gesture,  there  is  still  a  wide 
3* 


52  MANUAL  OF   GESTURE. 

margin  for  the  exercise  of  individual  taste  and  judgment 
in  the  matter  of  suiting  the  action  to  the  word. 

The  gestures  here  described,  with  their  various 
applications  and  accompanying  examples  will,  it  is 
believed,  if  carefully  studied,  suggest  the  appropriate 
style  of  action  in  every  case  that  may  arise.  The  sub- 
ject, however,  is  of  necessity  inexhaustible.  The  student 
will  therefore  find  ample  scope  for  the  exercise  of  liis 
ingenuity  in  discovering  new  combinations,  and  in 
bringing  out  the  finer  shades  of  expression. 


CHAPTER  IV. 


RIGHT   HAND  SUPINE. 


Fifj.  T. 

In  these  gestures  the  hand  is  not  entirely  supine,  but 
sh)ping  from  the  thumb  about  thirty  degrees  ;  the  fore 
finger  should  be  straight,  the  others  slightly  relaxed ; 
the  two  middle  fingers  close  together  and  the  other 
lingers  somewhat  separated  from  them.  The*  hand 
should  be  well  opened  ;  when  partly  closed  the  gesture 
is  weakened.  The  palm  of  the  hand,  when  presented 
to  the  audience,  possesses  great  power  of  expresion. 

Right  Hand  Descending  Front  Supine. 

(Figs.  8,  9,  10.) 

I.  This  gesture  is  emplo3^ed  in  Emphatic,  Particular 
Assertion,  embracing  that  which  is  urgent,  necessary, 
inevitable,  or  impossible. 


54 


MANUAL  OF   GESTURE. 


Regarded  as  mere  assertion,  the  affirmative  and  the 
negative  forms  are  governed  by  the  same  law. 


Fig.  8. 


Fig.  9. 


Fig.  10. 


Examples. — i.  This  doctrine  is  founded  upon,  and  consistent  with  the 

TRUTH. 

2.  It  MUST  be  so,  Plato  ;  thou  reasonest  well. 

d.  f.  rep. 

3.  This  preposition  must  not  be  entertained  for  a  single 

MOMENT, 

4.  The  war  is  inevitable. 

5.  This  can  never  be. 

6.  Under  existing  circumstances  war  is  IMPOSSIBLE. 

II.  Emphatic  Resolve  or  Determination. 

Ex. — I.  This  sentiment  I  will  maintain  with  the  last  breath  of  life. 
2.  To  such  usurpation  I  will  never  submit. 

III.  Imperative  or  Forcible  Demand. 

Ex. — I.  I  demand  an  immediate  surrender. 

2.  I  demand  complete  reparation  for  the  injury. 

ly.  Emphatic    Question,   whether   Grammatical  or 
Rhetorical. 


RIGHT   HAND   SUPINE.  55 

Ex. — I.  Do  you  POSITIVELY  affirm  this  ? 

2.  Hath  not  God  made  foolish  the  wisdom  of  this  world? 

3.  Why  should  Rome  fall  a  moment  ere  her  time  ? 

In  the  foregoing  examples  the  hand  is  raised  to  the 
head  and  brought  down  forcibly  upon  the  emphatic 
word.  See  jigs.  8  and  9.  In  the  following,  under  con- 
cession, submission,  etc.,  the  hand  is  but  slightly  raised 
in  preparation,  and  the  gesture  is  executed  with  slow 
movement.  See  fig.  10.  Thus  it  is  shown  that  in 
the  same  notation,  a  very  different,  or  even  opposite 
effect  may  be  produced  by  a  different  mode  of  execu- 
tion. 

V.  Concession ;  as, 

I  GRANT  this  principle. 

VI.  Submission ;  as, 

I  SUBMIT  to  your  terms. 

VII.  Humility; 

Ex. — I.  I  humbly  confess  my  fault. 

2.  *•  Sir,"  said  I,  "  or  Madam,  truly  your  forgiveness  I  implore." 

(^Mock  Humility.) 

3.  I  kiss  the  very  ground  under  your  feet. 

Before  taking  up  the  next  gesture  in  the  system — 
descending  oblique  —  it  is  well  to  observe  that,  in 
general,  the  relation  of  the  oblique  to  the  front  line  of 
gesture,  descending,  horizontal  and  ascending,  may  be 
stated  thus : 


Front. 

Particular, 
Specific, 
Unity, 
Personal, 
Very  Emphatic. 


Oblique. 

General, 

Generic, 

Plurality, 

Impersonal, 

Emphatic. 


56 


MANUAL  OF  GESTURE. 


Right  Hand  Descending  Oblique  Supine. 

(Fig.  II.) 

I.    Emphatic    General    Assertion, 
whether  affirmative  or  negative. 

Examples. 

1.  These  are  the  fundamental  principles  of 
knowledge. 

2.  These  things  are  CERTAINLY  true. 

3.  Of  all  mistakes  none  are  so  fatal  as  those 

we  inci:r  through  prejudice. 
imp. 

4.  These  statements  are  entirely  without  foun- 
dation. 

5.  The  assertions  of  my  opponent  are  false  in 
.xpjp    -1  -i                   every  particular. 

II.  This  gesture,  usually  in  combination  with  some 
other,  serves  to  mark  with  emphasis  words  opposed  to, 
or  compared  Avith  each  other. 

ExAMi'LLs. — I.  What  cannot  h^ prevented,  must  be  endured. 

h.  o.  d.  o. 

2.  What  is  done,  cannot  be  undone. 

h.  o.  d.  o. 

3.  There  is  a  material  difference  between  giving,  and  fok- 

d.o. 


GIVING. 


h.o. 


4.  He  who  is  intelligent,  will  be  INTELLIGIBLE. 

h.  o.  d.  o. 

5.  Prosperity  o-azwi-  friends,  adversity  TRIES  them. 

h.o.  d.o. 

6.  We  are  weak,  and  ye  are  strong. 

h.o.  d.o. 

Similar  ideas,  but  more  specific,  or  personal,  or  de- 
livered with  greater  emphasis,  prefer  the  line  in  front; 
as. 

Must  we  in  vcr.ir  person  crowu  the  author  of  the  public  calamities, 
h.f. 
or  musl  we  destruV  liim? 
d.  f. 


RIGHT    HAND   SUPINE.  57 

III.  In  common  with  other  descending  lines,  this 
gesture  is  used  in  Consummation  and  Finality ;  also  to 
enforce  the  Predominant  Idea.  These  two  applications 
generally  coincide ;  that  is,  the  predominant  idea  is 
emphasized,  and  the  action  completed  by  the  same 
downward  stroke. 

While  the  action  may  be  consummated  in  any  line  of 
gesture  suited  to  the  sentiment,  as  shown  in  many 
examples  in  this  book,  the  preference  is  most  frequently 
given  to  the  descending  gestures.  The  closing  idea, 
by  the  law  of  rhetoric  the  predominant  one,  is  thus 
marked  with  force,  and  the  effect  rendered  more  com- 
plete ;  as. 

Who  builds  on  less  than  an  immortal  base, 

a.  o. 
P'ond  as  he  seems,  condemns  his  joys  to  DEATH, 
h.l.  d.o. 

In  other  circumstances,  as  when  the  concluding  idea 
is  more  emphatic,  or  when  it  involves  a  particular 
instead  of  a  general  assertion,  the  descending  front 
may  be  the  gesture  of  consummation  and  finality. 
The  following  quotation,  closing  with  an  emphatic 
particular  assertion,  falls  under  this  head : 

I  tell  you  though  you,  though  all  the  luorhi,  though  an  angel  from 

heaven,  should  declare  the  truth  of  it,  I  cannot  UELIEVE  it. 
a.  o.  d .  f. 

The  descending  lateral  not  unfrequently  serves  to 
consummate  the  action,  but  in  cases  that  are  coincident 
with  other  uses  of  that  gesture,  as  explained  elsewhere. 

In  the  following  examples  the  descending  gesture  is 
employed  simply  to  enforce  the  predominent  idea. 
The  simultaneous  consummation  of  the  action  is  merely 
incidental : 


58 


MANUAL   OF  GESTURE. 


1.  Honor  and  virtue,  nay  even  interest  demands  a  different  course. 

h.o.  d.  o. 

2.  T\iQ  people  demand  peace  ;  yea,  the  army  itself  demands  it. 

h.o.  d.o. 

3.  Let  any  man  resolve  to  do  right  7ioiu,  leaving  then  to  do  as  it  can, 

h.  f.  h.  o. 

and  if  he  were  to  live  to  the  age  of  Methuselah,  he  would 
never  do  wrong.  • 

The  following  notation  serves  the  same  purpose  as 
the  above.  In  this  case,  however,  the  direct  personal 
address  chooses  the  line  in  front : 

King   Agrippa,    believest  thou  the  prophets  ?     I  know  that  thou 
h.f.  rep.  d.  f. 

believest. 

lY.  General  Concession. 

Ex. — I  concede  these  points. 

This  requires  small  preparation  and  slow  movement. 

V.  Submission,  Humility,  etc. 

Ex. — The  Turk  was  dreaming  of  the  hour 

When  Greece,  her  knee  in  suppliance  bent, 

h.  o.  d.  o. 

Should  tremble  at  his  power, 
imp. 

Right  Hand  Descending  Lateral  Supine. 

(Fig.  12.) 

I.  Refusal,  Rejection,  Emphatic 
Removal. 

Ex. — I.  I  refuse  the  offer. 

2.  Away  with  an  idea  so  absurd  ! 

Except  in  rejection,  removal, 
etc.,  this  gesture  is  generally  less 
emphatic  than  the  descending  ob- 
lique, but  is  more  emphatic  than 
the  horizontal  lateral. 

II.  Negation  or  Denial. 

Ex. — I.  The  moistened  eye,  the  trembling  lip, 
FiGr,  12.  "A-re  not  the  signs  of  doubt  or  fear. 


BIGHT  HAND   SUPINE.  59 

2.  He  DISCLAIMS  the  authority  of  the  king. 

3.  To  thine  own  self  ho.  true, 

h.f. 
And  it  must  follow  as  the  night  the  day, 

h.o. 
Thou  canst  not  then  be  false  to  any  man. 

d.I. 

III.  Concession,  Relinquishment,  Withdrawal,  De- 
clension, and  kindred  ideas. 

Ex.— I.  I  concede  all  that  my  opponent  claims. 

The  wave  of  concession  makes  a  full  sweep  of  the  hand 
and  arm. 

2.  Caesar  was  an  honorable  man. 
A  concession  of  Mark  Antony. 

There  should  be  here,  simultaneously  with  the  move- 
ment of  the  hand,  a  forward  inclination  of  the  body — 
the  natural  expression  of  yielding. 

3.  For  the  sake  of  peace,  I  am  willing  to  concede  every  reason- 

able DEMAND. 

4.  I  RELINQUISH  any  such  expectation. 

5.  I  WITHDRAW  my  motion. 

6.  I  DECLINE  the  offer. 

IV.  Extreme  Humility,  Submission,  Condescension, 
Obsequiousness. 

Ex. —  I.  I  beg  a  thousand  pardons  from  your  majesty. 

2.  Your  very  humble  servant,  sir. 

3.  Must  I  stand 

And  CROUCH  beneath  your  testy  humor. 

sus. 

4.  Thanks  to  God 
For  such  a  ROYAL  lady. 

V.  Privation,  Destitution,  Diminution,  Nonentity. 

Ex,  —  I.  They  were  but  a  feeble  band, 


60  MAKUAL  OF  GESTURE. 


2.  Merit  like  his,  the  fortune  of  the  mind,  beggars  all  wealth. 

h.  o.  imp.  d.  1.  sus. 

3.  An  empire  thou  couldst  crush,  command,  rebuild, 

b.  h.h.l,  b.h.d.o.p,   b.h.h.o.        b.h.d.o. 

But  govern  not  thy  PETTIEST  passion. 
d.l.         ^ 

4.  They  tell  us,  sir,  that  we  are  weak, 

5.  Shall  we  gather  strength  by  irresolution  and  inaction  ? 

6.  The  army  was  reduced  to  utter  destitution. 

7.  He  was  deprived  of  every  advantage. 

8.  Treasures  of  wickedness  profit  nothing. 

9.  Who  steals  my  purse,  steals  trash. 

h.  o.  d.l. 

10.  The  tvine  of  life  is  drawn,  and  the  mere  lees 

h.  1.  d.l. 

Is  left,  this  vault  to  brag  of. 
drop. 

11.  But  yesterday,  the  word  of  Caesar  might 

h.  0. 
Have  stood  against  the  world;  now  lies  he  there, 

h.  1.  d.  o.  ind. 

And  none  so  poor  to  do  him  reverence, 
d.  1.  sus. 

12.  Thy  joys 

Are  placed  in  trifles,  fashions,  follies,  toys. 

Let  the  hand  move  slowly  through  the  series. 

13.  All  that  tread 

The  globe  are  but  a  handfull  to  the  tribes 

h.l.  d.L 

That  slumber  in  its  bosom. 

b.  h.  d.  o.  p. 

VI.  Abasement,  Debasement,  and  kindred  ideas. 

Ex.  —  I.  For    I    know    that    in    me,  (that    is,    in    my  flesh,)    dwelleth 
NO  good  thing. 

2.  The  inebriate  descends  to  the  level  of  the  brute. 

3.  Minds, 

By  nature  great,  are  conscious  of  their  greatness, 

h.  o.  d.  o. 

And  hold  it  mean  to  borrow  ought  from  flattery. 
d.  1.  imp. 


BIGHT  HAND  SUPINE.  61 


4.  Real  glory 

a.  o. 
Springs  from  the  silent  conquest  of  ourselves, 

b.h.d.o. 
And  without  that,  the  conqueror  is  nought 

But  the  first  slave. 
d.  1. 

5.  A  courtier's  dependent  is  a  beggar's  dog. 

6.  The  Lord  bringeth  the  counsel  of  the  heathen  to  nought. 

VII.  Scorn,  Derision,  Mockery,  Contempt,  Detesta- 
tion, etc. 

Ex. —  I.  Thou   makest   us   a   reproach  to  our  neighbors,   a  scorn   and 

h.  1. 
DERISION  to  them  that  are  round  about  us. 
d.  I. 

2.  O,  when  I  am  safe  in  my  sylvan  home, 

h.o. 
I  MOCK  at  the  pride  of  Greece  and  Rome, 
d.l. 

VIII.  Hopelessness,  Extremity. 

Ex. —  I.  There  is  no  HOPE  of  success. 

2.  It  were  utterly  useless  to  resist. 

3.  It  is  in  VAIN,  sir,  to  extenuate  the  matter. 

4.  It  is  now  TOO  LATE  to  retire  from  the  contest. 

5.  Delay  is  had,  doubt  worse,  desponding  worst. 

d.  f.  d.  o.  d.  1. 

6.  Life  ill-preserved,  is  WORSE  than  badly  lost. 

h.  o.  d.  1. 

7.  Love  can  hope,  where  reason  would  despair. 

a.  f.  d.  L 

8.  He  has  gone  to  his  rest — gone,  to  return  no  more. 


Right  Hand  Descending  Oblique  Backwards,  Supine. 

(Fig.  13.) 

I.  Emphatic  or  Vehement  Rejection. 

Ex. — Away  with  an  idea  so  abhorrent  to  humanity ! 


62 


MANUAL   OF  GESTURE. 


Fig.  13. 


II.  Sometimes  employed  in  Nega- 
tion, and  for  other  purposes  usually 
assigned  to  the  descending  lateral, — 
to  complete  a  series,  to  effect  a  cli- 
max, or  to  express  greater  degree. 

Ex. — I.  Let  another  man  praise   thee,  and  not 

h.  o.  h.  1. 

thine  own  mouth  ;  a  stranger,  and  not 

h.o.  b.  d.o.b. 

THINE  OWN  LIPS. 


2.  There  is  no  7vork,  nor  device,  nor  knowl- 
d.  f.  d.o.  d.  1. 

edge,    nor    wisdom,   in    the    grave, 

d.  o.  b.  imp. 

whither  thou  goest. 


Right  Hand  Horizontal  Front,  Supine. 

(Fig.  14.) 

I.  Direct    Personal    Address  —  Appeal,    Challenge, 
Command,  Exhortation,  Interrogation,  etc.,  etc. 

Ex. — I.  I  appeal  to  you,  sir,  for  the  decision. 

2.  I  challenge  investigation. 

3.  Give  me  good  proofs  of  what  you  have 
alleged. 


4.  Charge  ! 

r.h.h.f. 


Chester, 


Charge !     On ! 

rep.        r.h.h.f. 


Stanley,  On  ! 

rep. 


Fig.  14. 


The  fourth  example  requires  an 
energetic  forward  motion  of  the  body, 
and  a  corresponding  fullness  in  the 
arm  movement,  the  effect  being  quite 
different  from  that  shown  in  the  cut. 

5.  Stand 

Firm  for  your  country,  and  become  a  man, 
h.  f.  rep. 

Honor'd  and  lov'd. 
rep. 


RIGHT   HAND   SUPINE.  63 


6.  I  court  others  in  verse,  but  love  thee  in  prose. 

h.  1.  h.  f. 

They  have  my  whimsies,  but  thou  hast  my  heart. 
h.l.  h.f. 

7.  This,  above  all,  to  thine  own  self  be  true. 

h.  f.  rep. 

8.  Whatsoever  thy  hand  findeth  to  do,  do  it  with  thy  might. 

h.f.  d.f. 

9.  Know  THYSELF. 

10.  Think  for  thyself  one  good  idea, 

h.  f.         rep. 
But  known  to  be  thine  own, 
rep. 
Is  better  than  a  thotisand  \Atz.xvt^ 
h.l. 
From  fields  by  others  sown, 
imp. 

11.  Do  you  CONFESS  the  bond? 

12.  And  why  beholdest  thou  the  viote  that  is  in  thy  brother's  eye, 

h.  1.  imp. 

but  considerest  not  the  BEAM  that  is  in  thine  own  eye? 
h.  f.  imp. 

II.  Unemphatic  Particular  Assertion. 

Ex. — Living  I  shall  assert  it,  dying  I  shall  assert  it. 
h.f.  d.f. 

Here  we  have  the  unemphatic  as  compared  with  the 
emphatic. 

III.  Presentation.     This  may  refer  to  visible  objects, 
or  to  time,  space,  or  thought. 

Ex.  —  I.  With  this  hand  I  signed  the  pledge. 

2.  The  world  at  this  moment  is  regarding  us  with  a  vnlling,  but 

h.f.  h.  o. 

something  of  a  fearful  admiration, 
d.  o. 
This  is  the  place,  the  center  of  the  grove. 

h.  f.  rep. 

3.  This  is  the  proposition  to  be  discussed. 

4.  Did  this  in  Caesar  seem  ambitious? 

h.  f.  imp. 

5.  The  Jews  require  a  sign,  and  the  Greeks  seek  after  wisaom;  but 

h.l.  h.o.  b. 

we  preach  Christ  crucified. 
h.f. 


64  MAKUAL  OF   GESTURE. 

The  ideas  of  the  Jews  and  Greeks  are  rejected,  and 
something  else  presented  instead;  hence  the  contrast 
in  gesture — ^presentation  as  opposed  to  rejection ;  not 

that^  but  this. 

h.  1.  h.  f. 

IV.  Directness,  Boldness,  Integrity. 

Ex.  —  I.  True  as  the  steel  of  their  tried  blades. 

2.  I  speak  the  truth,  the  whole  truth,  and  nothing   but  the 

truth.  ^•^-  ''"P-  d-f- 

For  emphatic  distinction,  the  action  here,  as  in  many 
similar  cases,  is  consummated  in  the  descending  line. 

3.  W 2iS  \\.  ambition  that  induced  Regukis  to  return  to  Carthage? 

h.  o. 

No;  but  a  love  of  couittry  and  respect  for  truth — an  act  of 
d.o.  h.  1.  h.  f. 

moral  sublimity  arising  out  of  the  firmest  integrity. 
a.  o.  h.  f. 

V.  Impulsion,  Forward  Motion. 

Ex. —  I.  True  eloquence  urges  the  whole  man  onward,  right  onward 

to  his  object.  ^•^-  ,  ^ep.  with 

•'  larger  prep. 

2.  On,  Comrades,  On  ! 

h.  f.  rep. 

3.  Forward,  the  Light  Brigade  ! 

The  coincidence  of  this  with  a  preceding  applicatiop 
— that  of  command — renders  the  action  doubly  expres^ 
sive. 

VI.  Futurity. 

Ex.  —  I.  The  future  lies  before  us. 

2.  Anticipation  forward  points  the  view. 


RIGHT   HAND   SUPINE. 


65 


Right  Hand  Horizontal  Oblique  Supine. 

(Fig.  15.) 

I.    General     Address,    as    distin- 
guished from  particular  personal  ad- 
dress, which  takes  the  line  in  front ; 
Presentation,  etc. 
Ex. — I.  Conscript   Fathers,   I  do  not  rise  to 

h.o. 
waste  the  night  in  words. 
h.l. 

2.  Fellow-citizens,  I   congratulate  you 

on  the  return  of  this  anniversary. 

3.  For  the  truth  of  my  statement,  I  appeal 

to  THESE  WITNESSES. 

4.  These  are  my  sentiments,  gentlemen, 
e.  I  now  submit  these  questions  to  YOU, 

my  friends. 

6.  Speak  the  speech,  I  pray  you,  as  I  pro- 
h.o.  imp. 

nounced  it  to  you. 

II., General  Reference  as  distinguished  from  particu- 
lar personal  reference  ;  Respectful  Reference. 

Ex. — I.  For  the  justice  of  this  principle,  I  refer  you  to  the  decisions  of 
h.  f. 

the  COURTS, 
h.o. 

2.  Then  must  the  Jew  be  merciful. 

The  grammatical  third  person  singular  is  embraced 
in  the  term  general  as  employed  in  this  treatise.  It 
Portia  were  using  the  form  of  the  second  person — Then 
must  thou  be  merciful,  Shylock — this  direct  personal 
address  would  call  for  the  gesture  in  front.  This  rule, 
however,  is  by  no  means  invariable,  as  may  be  seen 
from  many  of  the  examples  given  elsewhere.  Gesture 
inclines  to  the  line  in  front  by  the  law  of  emphasis 


Fig.  15. 


66  MANUAL  OF  GESTURE. 

alone,  regardless  of  every  other  law.  In  many  other 
cases,  also,  as  in  classification,  comparison  and  contrast, 
it  is  found  convenient  to  make  exceptions  to  the  rule. 

3.  I  acknowledge  my  sincere  regard  for  the  honorable  gentleman 
who  preceded  me. 

III.  Unemphatic  General  Assertion,  or  Expression  of 
General  Thought.     Appropriate  in  Interrogation,  etc. 

Ex. — I.  Man  is  mortal. 

2.  All  men  are  created  equal. 

3.  What  was  the  object  of  his  ambition  ? 

4.  Who  knows  the  joys  of  friendship? 

The  attention  of  the  student  is  here  called  to  the 
prominence  which  should  be  given  to  the  present  ges- 
ture— horizontal  oblique — together  with  the  descending 
oblique,  in  general  assertion.  Sentences  may  often  be 
treated  as  mere  assertions,  even  though  they  contain 
some  word  suggestive  of  a  descriptive  or  designative 
gesture. 

In  particular,  and  very  emphatic  assertion,  as  previ- 
ously shown,  the  corresponding  front  lines  are  preferred, 
and  these  four  gestures,  although  employed  for  various 
other  purposes,  may,  by  way  of  distinction,  be  called 
assertive  gestures,  and  classified  as  follows : 

Horizontal  front,  unemphatic  particular  assertion  ; 
Horizontal  oblique,  unemphatic  o^eneral  assertion  ; 
Descending  front,  emphatic  particular  assertion  ; 
Descending  oblique,  emphatic  general  assertion. 

In  didactic  and  argumentative  discourse,  these  ges- 
tures predominate.  However,  as  the  delivery  becomes 
more  emotional  or  impassioned,  the  left  hand  will  be 


RIGHT   HAND   SUPINE.  67 

brought  in  as  an  accompaniment  to  the  right,  as  will 
be  shown  under  both  hands  supine, 

IV.  Closely  allied  to  the  preceding  designation,  we 
have  for  this  gesture  the  Suspension  of  Thought.  The 
horizontal  oblique  is  thus  employed  in  connection  with 
some  other  gesture  which  is  added  to  continue  or  to 
complete  the  expression. 

Ex. — I.  Before  reinforcements  could  be  sent,  the  battle  was  lost. 
h.  o.  d.o. 

2.  The  steed  at  hand,  why  longer  tarry  ? 

h  o.  d.  o. 

3.  That  RICHES  are  to  be  preferred  to  wisdom,  no  one  will  openly 

h.o.  imp.  d.o. 

assert. 

4.  The  brave  man  will  conquer,  ox  perish  in  the  attempt. 

h.o.  d.o. 

5.  To  smile  upon  those  we  should  censure,  and  to  countenance 

h.  o.  imp.  h.  1. 

such  as  are  guilty  of  bad  actions,  is  bringing  guilt  upon  our- 
selves. '"^P-  ^•*'- 

Antithesis  and  Comparison  properly  fall  under  this 
head.     To  illustrate  these  the  examples  are  continued : 

6.  The  prodigal  robs  his  heir  ;  the  miser  robs  himself. 

h.o.  d.o. 

7.  He  that  cannot  bear  a  jest,  should  not  make  one. 

h.o.  d.o. 

8.  All  who  have  been  great  and  good  without  Christianity,  would 

h.  o. 
have  been  much  greater  and  better  with  it. 

d.o. 

Also  Hypothetical  Clauses : 

9.  If  the  war  be  continued,  the  public  treasury  will  be  exhausted, 

h.o.  d.o. 

10.  If  sheep  and  OXEN  could  atone  for  men, 
prep.  h.  o. 

Ah  !  at  how  cheap  a  rate  the  rich  might  sin  ! 
r.h.  upl.  d.o. 

Other  gestures  are  sometimes  brought  in  to  extend 
the  suspension  of  thought ;  as, 
4 


68  MANUAL  OF  GESTURE. 

11.  If  ONE  man  can  do  much  good,  if  two  can  do  more,  and  if  three 

h.  f.  h.  o. 

can    go    FAR  BEYOND  two ;   what  may  we  not  expect   three 

h.  1. 
hundred  thousand  to  accomplish  ? 
b.h.h.l. 

12.  Whatever   tends   to   promote    the    principles   of  virtue,    and 

h.f. 
strengthen  the  bonds  of  brotherhood — whatever  tends  to 
h.o. 

CALM  THE  RUFFLED   FEELINGS   and   REGULATE  THE  PASSIONS, 
h.  o.  p.  h.l.p. 

is  undoubtedly  a  source  of  happutess. 
d.o. 

To  this  head  may  also  be  referred  those  cases  in 
which  the  subject  of  an  unimpassioned  sentence  occurs 
upon  the  horizontal  oblique,  the  predicate  usually  taking 
an  emphatic  downward  stroke  : 

13.  The  LOVE  OF  MONEY  is  the  root  oi  all  evil. 

h.o.  d.o. 

14.  Tyrants,  when  reason  and  argument  make  against  them,  have 

h.o.  rep. 

recourse  to  violence  to  silence  their  opponents, 
d.o. 

15.  Nations,  as  well  as  men,  fail  in  nothing  which    they  boldly 

h.o.  imp.  6.jti. 

undertake. 

It  will  be  observed  that  much  prominence  is  given  to 
the  gesture  horizontal  oblique  supine.  This  and  the 
corresponding  gesture  in  the  descending  line  are  more 
frequently  employed  than  any  others  in  this  system . 


Right  Hand  Horizontal  Lateral  Supine. 

(Fig.  16.) 

For  the  full  effect  of  the  curve,  the  movements  ter- 
minating in  the  lateral  positions — descending,  horizontal 
and  ascending — are  made  with  a  full  sweep  of  the  hand, 
which  is  first  carried  to  the  corresponding  oblique  line, 


RIGHT   HAND   SUPINE. 


69 


Fig.  16. 


and  thence  outward  to  the  lateral,  thus :  for  the  de- 
scending lateral,  first  make  the  descending  oblique 
(omitting  the  emphatic  stroke 
at  its  terminus),  and  then  carry 
the  hand  around  to  the  descend- 
ing lateral ;  for  the  horizontal 
lateral,  give  the  horizontal  ob- 
lique, and  sweep  outward  thence 
to  the  horizontal  lateral ;  for  the 
ascending  lateral,  move  to  the 
ascending  oblique,  and  continue 
the  action  to  the  ascending  lat- 
eral ;  carefully  avoiding,  in  each 
case,  the  angle  which  would  be 
formed  by  allowing  the  hand  to 
pause  at  the  oblique  extremity, 
and  making  the  motions  continuous  and  curvilineal. 
The  close  observance  of  these  directions  will  prove  an 
effectual  safeguard  against  the  prevalent  fault  of  divest- 
ing this  class  of  gestures  of  their  gracefulness  and  ex- 
pressive power. 

In  the  interpretation  of  this  gesture  we  have, 
I.  Extension  in  time  and   space,  and,  by  analogy, 
extension  in  thought. 

Allusion  to  numbers  and  space  frequently  uses  this 
in  preference  to  the  corresponding  gesture  with  both 
hands. 

Ex. — I.  From  infancy  to  old  age. 

2.  Days,  MO>rrHS,  years  and  ages  shall  circle  away. 

Slow  movement  extending  through  the  series. 

3.  From  the  center  all  around  TO  THE  sea,  I  am  lord  of  the 

fowl  and  the  brute. 


70  MANUAL  OF   GESTURE. 

4.  His  capacious  mind  ranged  over  the  whole  subject. 

5.  Shall  TRIBULATION,  OR   DISTRESS,  OR  PERSECUTION,  OR  FAMINE, 

OR  NAKEDNESS,  OR  PERIL,  OR  SWORD? 

Slow  movement  throughout.  This  takes  the  supine 
on  account  of  its  interrogatory  character.  Tribulation, 
distress,  etc.,  in  themselves  considered,  would  require 
the  prone  hand.  The  terms  here  employed,  though 
numerous  and  descriptive,  are  merged  in  a  sweeping 
unity  of  effect ;  so  of  the  gesture. 

6.  Where  is  the  wise  ?    Where  is  the  scribe  ?  Where  is  the  disputer 

h.f.  h.o.  h.l. 

OF  this  world  ? 

Here  the  lateral  gesture  is  brought  in  to  complete 
the  series.  The  thought  may  be  extended  either  by 
one  sweeping  gesture,  as  in  Ex.  5,  or  by  using  the 
lateral  in  connection  with  the  front  and  oblique,  as  in 
Ex.  6. 

7.  The  morning  was  pure  and  sunny,  the  fields  were  white  with 

h.  f. 

daisies,  and  BEES  HUMMED  ABOUT  every  bank. 
h.o.  h.l. 

8.  A  proverb  is  the  wit  of  one,  and  the  wisdom  of  many. 

h.o.  h.l. 

II.  Descriptive  Reference.  AVhile  objects  may  be 
descriptively  referred  to  with  any  other  gesture,  the 
horizontal  lateral^  because  of  its  greater  prominence  in 
this  respect,  is  worthy  of  special  notice. 

Ex. — I.  The  breeze  of  morning  wafted  incense  ON  THE  AIR. 

2.  O'ER  THE  RIVER,  THE  VILLAGE,  THE  FIELD,  AND  THE  WOOD. 

This  requires  a  full  preparation,  and  large  outward 
sweep.  Nor  must  the  hand  be  allowed  to  pause  with 
the  rhetorical  pauses  in  the  voice. 

III.  Disclosing,  Revealing,  Showing,  Displaying,  etc. 


RIGHT  HAND   SUPINE.  71 

Ex. — I.  His  faults  lie  open  to  the  laws. 

2.  O,  what  a  goodly  outside  falsehood  hath  ! 

3.  Professing  themselves  to  be  wise,  they  became  fools. 

4.  This  world  is  all  a  FLEETING  show. 

h.l. 

In  the  last  example  the  gesture  expresses  a  complex 
idea — transition  and  display. 

IV.  Distant  Reference — distance  in  time  or  space. 

Ex. — I.  Methinks  I  saw  thee  straying  on  the  beach. 

2.  The  brave  abroad  fight  for  the  wise  at  hoTiie. 

h.l.  h.f. 

3.  Our  absent  friends  are  remembered  in  these  festive  seasons. 

4.  Search  the  records  of  our  EARLY  history  for  a  parallel  to  this. 

5.  The  blessed  to-day  are  as  completely  so 

h.f.  d.o. 

As  who  began  three  thousand  years  ago. 

h.l. 

V.  Removal,  Withdrawal,  Transition,  etc. 

This  being  the  gesture  of  distance — distance  in  a 
greater  or  less  degree — it  is  often  used  in  referring  to 
tliat  and  iho%e^  as  distinguished  from  this  and  ihese^ 
which  incline  to  the  front  and  oblique.  Here  and  there 
follow  the  same  law. 

Frequently  used  in  connection  with  the  horizontal 
front,  or,  it  may  be,  some  other  gesture,  to  express 
Antithesis,  or  Parallelism. 

Ex. —  I.  The  objection  to  this  measure  is  now  removed. 

2.  Go,  say  I  sent  thee  forth  to  purchase  honor. 

imp. 

3.  Through  floods  and  through  forests  he  bounded  aw  AY. 

4.  Man  may  dismiss  COMPASSION  from  his  heart, 


h.o. 


sus. 


But  God  will  never, 
d.o. 


72  MANUAL   OF   GESTURE. 


5.  His  cares  flew  away, 

h.l. 
And  visions  of  happiness  danced  o'er  his  mind. 

a.  o. 

6.  He  WITHDREW  from  the  cares  of  the  world. 

7.  The  fashion  of  this  world  passeth  away. 

8.  The  man  that  wandereth  out  of  the  way  of  UNDERSTANDING, 

shall  remain  in  the  congregation  of  the  dead.  ^-  '• 

d.l. 

9.  And  of  Zion  it  shall  be  said,  This  and  that  man  was  born  in 

her.  ^-  f-  ^- 1- 

10.  Some  place  the  bliss  in  action,  some  in  ease— 

h.l.  h.o. 

Those  call  it  pleasure,  and  contentment  these, 
h.l.  h.o. 

11.  Call  imperfection  what  thou /<2«ryj-/ such, 

h.o. 
Say,  here  he  gives  too  little,  there  too  much. 
h.f.  imp.        h.l.  imp. 

12.  The  wise  man  is  happy  when  he  gains  his  own  approbation,  the 

h.  f.  imp. 


FOOL  when  he  gains  that  of  others. 


h.l 


imp. 


13.  A  man's  first  care  should  be  to  avoid  the  reproaches  of  his  own 

h.  f.  imp. 

heart ;  his  next,  to  escape  the  censure  of  the  world. 

h.l. 

14.  When  our  vices  leave  us,  we  flatter  ourselves  we  leave  them. 

h.l.  d.l. 

15.  The  wicked  flee  when  no  man  pursueth  :  but  the  righteous 

h.L 
are  bold  as  a  lion. 
d.o. 

VI.  Unemphatic  Negation. 

This  comes  from  the  primary  idea  of  removal.  To 
deny  a  proposition  is  to  remove  it  from  the  mind. 
"  We  posite  by  an  affirmative  ;  we  remove  by  a  nega- 
tive." 

Ex. — I.  Galio  cared  for  none  of  these  things. 

2    Caesar  was  not  more  ambitious  than  CiCERO, 
3.  We  shall  not  fight  our  battles  alone. 


RIGHT  HAND   SUPINE.  73 

That  is,  Galio  dismissed  the  whole  affair  from  his 
thoughts ;  we  remove  from  our  minds  the  proposition 
that  Caesar  was  more  ambitious  than  Cicero ;  we  put 
away  the  discouraging  thought  of  fighting  our  battles 
alone  :  hence  the  gesture  of  removal. 

4.  I  have  not  stopped  mine  ears  to  their  demands. 

5.  Angels,  contented  yf\\.\i  their  fame  in  Heaven,  seek  not  the  praise 

of  MEN.     ^'°'  '""P- 

h.l. 

(^Negation  as  opposed  to  affirmation.) 

6.  Not  that  I  loved  Csesar  less,  but  that  I  loved  Rome  more. 

h.l.  d.o. 

7.  You  were  paid  \.o  fight  against  Alexander,  not  to  rail  at  him. 

d.o.  h.l. 

8.  True  politeness  is  not  a  mere  compliance  with  arbitrary  custom, 

h.o.  h.l. 

it  is  the  expression  of  a  refined  benevolence. 

d.o. 

What  may  be  termed  the  weak  negative,  in  contrast 
with  the  strong  negative,  may  be  expressed  by  a  moder- 
ate upward,  downward,  or  horizontal  wave,  according 
to  its  degree  of  sublimity,  energy,  or  moderation. 

VII.  Remission. 

Ex. — I  freely  forgive  you. 

The  same  language  uttered  with  greater  emphasis 
would  take  the  descending  lateral ;  and  if  accompanied 
with  strong  emotion,  both  hands. 

VIII.  Concession,  in  a  moderate  degree. 

Ex    -I.  I  acknowledge  his  greatness  as  a  military  leader,  but  I  doubt 

the  sincerity  of  his  intentions.  •  * 

d.l. 

2.  Others  may  be  wiser,  but  none  are  more  amiable. 

h.l.  d.o. 

3.  The    miracles    that    Moses    performed    may  have   convinced 

h.o.  h.l. 

Pharaoh,  but  at  first  they  humbled  not  his  pride. 

d.o. 


74  MANUAL  OF   GESTURE. 

4.  He  who  lacks  decision  of  character,  may  win  the  love,  but  he 
h.o.  h.l. 

certainly  cannot  gain  the  respect  of  his  fellow-men. 
d.o. 

IX.  Disregard,  Diminution,  Humor,  Derision,  Ridi- 
cule, Mockery,  Irony,  Sarcasm,  etc.,  when  unemphatic. 
When  emphatic  they  take  the  descending  line. 

This  is  the  gesture  of  slighting,  rather  than  of  con- 
temning. The  latter  usually  prefers  the  descending 
line. 

The  lateral  gesture  indicates  breadth ;  and  rhetoricians 
speak  of  the  "  breadth  of  humor." 

In  derision,  ridicule,  etc.,  we  remove,  or  set  aside, 
whatever  is  inconsistent  with  reason  ;  hence  we  employ 
the  gesture  of  Removal. 

Ex. — I.  I  have  very  little  regard  for  such  assertions. 

2.  The  gay  will  laugh  when  thou  art  gone. 

3.  Merry  is  the  bird's  life,  in  the  pleasant  spring  : 

sus. 

4.  Full  WELL  they  laughed  v/ith  counterfeited  glee. 

h.  1.  imp. 

5.  Let  \\\Q.  fools  who  follow  fortune  live  upon  her  smiles. 

h.  o.  h.  1. 

6.  Dreams  are  the  children  of  an  idle  BRAIN. 
Begot  of  nothing  but  fantasy. 

7.  And  what  is  friendship  but  a  name, 

A  charm  that  lulls  to  sleep.      '  ' 
d.L 

8.  Fools  are  only  laughed  at — wits  are  hated. 

h.l.  d.l. 

9.  What  fairer  cloak  than  courtesy  for  fraud  ? 

10.  What  is  ambition  ?     'T  is  a  glorious  CHEAT. 

h.o.  h.l. 

11.  Courageous  chief!     The  first  in  flight  from  pain 

12.  It  has  been  said  that  this  law  is  a  measure  oi peace  !     Yes  !  such 

peace  as  the  wolf  gives  to  the  LAMB  !  ^'  °' 

h.l. 


RIGHT  HAND  SUPINE. 


75 


Right  Hand  Horizontal  Oblique  Backwards  Supine. 

(Fig.  17.) 

I.  Remote  Reference — remoteness 
in  time  or  space. 

It  will  be  observed  that  this  com- 
pletes the  series, — horizontal  front, 
personal  reference ;  horizontal  oblique, 
general  reference  ;  horizontal  lateral, 
distant  reference  ;  horizontal  oblique 
backwards,  remote  reference. 

These  several  relations  may  also  be 
stated  thus :  h.  f.,  present ;  h.  o.,  near; 
h.  1.,  distant;  h.  o.  b.,  remote.  Fig.  17. 

Ex. —  I.  Turning  his  back  upon  country,  kith  and  kin,  he  wandered  FAR 
AWAY  TO  FOREIGN  LANDS. 

2.  Tradition's  pages 
Tell  not  the  planting  of  the  parent  tree. 

3.  Search  the  records  of  the  remotest  antiquity  for  a  parallel  to 

this. 

4.  The  ashes  of  my  ancestors, 

h.o.b. 
If  intermingled  in  the  tomb  with  ^tngs, 

b.h.d.f. 
Could  hardly  be  distinguished, 
drop. 

II.  Retrogression. 

Ex. — The  children  of  Ephraim,  being  armed,  and  carrying  boxvs,  turned 
h.  o.  imp.        h.  o.  b. 

BACK  in  the  day  of  battle. 

In  addition  to  the  applications  here  given,  the  gestures 
oblique  backwards,  in  the  descending,  the  horizontal, 
and  the  ascending  lines,  are  sometimes  used  in  connec- 
tion with  the  corresponding  lateral  gestures  merely  to 
complete  a  series,  or  to  express  greater  degree. 


76 


MANUAL   OF   GESTURE. 


Right  Hand  Ascending  Front  Supine. 

(Fig.  i8.) 

I.  Elevation  —  physical,  intellectual, 
or  moral;  Sacredness,  Sublimity,  Sub' 
lime  Apostrophe. 

Ex. — I.  Climb  to  the  mountain  top. 

2.  Aspire  to  the  highest  and  noblest  attain- 
ments. 

The  superlative  degree  usually  prefers  the  line  in  front. 

3.  Wisdom  sits  alone, 

Topmost  in  heaven, 
rep. 

4.  Thou  Sun  !   of  this  great  world  both  eye 
and  soul ! 

II.  Sacred  Address. 
Ex. — I.  Thou  art  my  Father. 

2.  I  appeal  to  the  great  Searcher  of  hearts 
for  the  truth  of  what  I  utter. 

III.  Sacred  Reference — Direct  Reference  to  God,  or 
His  throne. 

Ex. — I.  'T  was  God  who  fixed  the  rolling  spheres. 

2.  The  throne  of  eternity  is  a  throne  of  mercy  and  love. 

IV.  Futurity,  Sublime  Anticipation. 

The  future  as  related  to  time,  when  not  associated 
with  sublimity,  usually  employs  the  horizontal  gesture  : 
the  future  as  related  to  eternity — a  blissful  eternity — 
the  ascending. 

Ex. — I.  For  ever  shall  His  throne  endure. 

If,  in  this  case,  it  should  suit  the  purpose  of  the 
speaker  to  emphasize  the  assertion  rather  than  to  em- 
ploy a  gesture  suggestive  of  futurity,  he  would  of  course 


Fig.  18. 


RIGHT   HAND   SUPINE.  77 

choose  the  downward,  instead  of  the  upward  motion, 
dimply  tr'^ating  the  sentence  as  an  emphatic  assertion. 

a.  On  Jordan  s  stormy  banks  I  stand, 
h.  f. 
And  cast  a  wishful  eye 
The  eyes  upraised. 

To  Canaan's  fair  and  happy  land, 
a.  f. 
Where  vay  possessions  lie. 
b.  h.a.  o. 

3.  O,  holy  Star  of  Hope  ! 
a.f. 

The  objects   of  hope   lying   above  and  beyond  us, 
suggest  this  gesture  in  the  present  case. 


Right  Hand  Ascending  Oblique  Supine. 

(Fig.  19.) 

I.  General  Sublimity. 

Ex. — I.  Day  gilds  the  mountain  tops. 

2.  Aspire  after  the  rewards  of  a  truly  noble 

ambition. 

3.  Hark  !  the  herald  angels  sing, 
r.  h.  upL  a.  o. 

II.  General  Sacred  Reference. 

Ex. — The  Scriptures  represent  God  as  the  Father  of 
all  mercies. 


Fig.  19. 


78 


MANUAL  OF  GESTURE. 


Right  Hand  Ascending  Lateral  Supine. 

(Fig.  20.) 


I.  Elevation,  Sacredness,  or 
Sublimity,  combined  with  Ex- 
tension or  Distance. 

Since  the  ascending  gestures 
express  elevation,  sacredness 
and  sublimity,  and  the  lateral 
indicate  extension  and  distance, 
the  ascending  lateral  gives  this 
combination. 

Ex. — I.    From   star   to   star    thy   glory- 
prep. 

shines. 

SUS. 

2.  And   mountain   top  to  DISTANT 
prep, 
mountain    top     repeats    the 

sounding  joy. 


Fig.  20. 


II.  Descri^jtive  Reference  combined  with  Elevation 
or  Sublimity,  Sublime  Classification,  and  Enumeration. 

Ex.— The  Sim,  the  moon,  the  stars  His  majesty  proclaim, 
a.  f.  a.  o.  a.  1.  sus. 

Or,  the  whole  may  be  embraced  in  one  sweep  of  the 
hand,  terminating  in  the  ascending  lateral. 

III.  Victory,  Triumph,  Exultation. 

Ex.— I.  In  dreams  his  song  of  triumph  heard. 

2.  His  few  surviving  comrades  saw 

His  smile  when  rang  their  proud  hurrah  ! 
h.o.  a- 1- 


RIGHT  HAND  SUPINE. 


79 


Right  Hand  Ascending  Oblique  Backwards  Supine. 

(Fig.  21.) 

I.  Remoteness  in  time  or  space,  associated  with  Ele- 
vation or  Sublimity. 

Ex. — I.  This  glorious  scheme  was  projected 
from  the  foundation  of  the  world. 

2.  You  may,  if  it  be  God's  will,  gain  our 
h.o. 
barren  and  rugged  mountains;  but, 

a.l. 
like  our  ancestors  of  old,  we  will 

h.o.b. 
take  refuge  in  wilder  and  more 

a.o.  b. 
DISTANT  solitudes, 
rep. 

II.  Victory,  Triumph,  Exulta- 
tion, the  arm  making  a  wider  sweep 
than  in  the  lateral,  to  express  a 
higher  degree  of  exultation,  or  to 
effect  a  climax. 

Ex. — I.  Shout,  shout  ALOUD  for  joy  ! 


Fig.  21. 


2,  We  shall  come  off  conquerors,  and  more  than  conquerors, 
a.  1.  a.  o.  b. 


CHAPTER  V. 


BOTH    HANDS  SUPINE. 

Both  hands  are  employed  to  indicate  space  and  num- 
bers. The  latter  is  based  upon  the  geometrical  idea  of 
representing  numbers  by  space.  By  analogy  we  use 
both  hands  to  express  the  expansion  of  thought  and 
feeling.  They  do  not,  as  many  young  speakers  suppose, 
add  emphasis ;  but  give  to  the  expression  warmth,  ex- 
pansion, or  entireness.  Their  too  frequent  use  is  a 
fault,  tending  to  weaken  the  action. 

Genial  and  joyous  emotions  frequently  require  both 
hands. 

Example. — O,  the  transporting  rapturous  scene 

b.  h.  a.  f. 

That  rises  to  my  sight, 

Sweet  fields  arrayed  in  living  green, 
b.h.a.  1. 
And  rivers  of  DELIGHT, 
b.h.  a.  o. 

To  express  the  joyousness  of  this  language,  one  hand 
would  be  too  sparing. 

In  Impassioned  Discourse  we  have  the  union  of  force 
and  feeling — Impassioned  Emphasis- — which  calls  for 
both  hands  ;  unimpasssioned  emphasis  requiring  only 
one  hand.  The  right  hand  is  the  symbol  of  authority 
and  power ;  hence,  it  is  adapted  to  accompany  forcible 
utterance. 


BOTH  HANDS  SUPINE. 


81 


Both  Hands  Descending  Front  Supine. 

(Fig.  22.) 

I.  Impassioned  Particular  Assertion, 
whether  affirmative  or  negative. 

Ex. — I.  This  principle  is  as  firm  as  the  solid  rock. 

2.  The  assertion    of  my  opponent  is   utterly 

FALSE. 

3.  Give  me  liberty,  or  give  me  death. 

b.  h.  a.  o.  b.  h.  d.  f. 

II.  Deposition,  Surrender,  etc. 

Ex. — I.  We  will  resign 

Thy  sacred  dust  to  earth's  cold  breast. 

The   student  will   observe   that  the 
gesture,  as  applied  to  this  example,  is 
intended  to  describe  the  act  of  deposit-       Fig.  22. 
ing  the  body,  rather  than  the  subsequent 
idea  of  its  being  covered  beneath  the  earth  ;  hence  the 
hands  are  supine  instead  of  prone. 

2.  All /^rji7«rt/ feeling  he  deposited  upon  the  altar  of  his  counrty. 
b.h.h.f.  b.h.d.f. 

In  partial  deposition,  or  surrender,  the  arms  are  bent 
at  the  elbows  ;  to  produce  the  fullest  effect  they  should 
be  straight.  In  proportion  as  we  bend  the  arms  we 
withhold  the  offering.  The  arm  is  a  tongue  that  speaks 
what  is  in  the  soul,  full  or  feeble. 

III.  Humility,  Submission. 

These  are  expressed  in  different  degrees,  according  as 
the  body  is  more  or  less  inclined  forward. 

Ex. — 1.  {First  degree)      I  SUBMIT. 

2.  {Second  degree.)  I  RESPECTFULLY  submit. 

3.  ( Third  degree.)    I  HUMBLY  submit. 

4.  Here  I  stand  your  slave. 


82 


MANUAL  OF  GESTTTRE. 


5.  Here  I  kneel  : 

If  e'er  my  will  did  trespass  'gainst  his  love, 
Either  in  discourse,  or  thought,  or  actual  deed. 

ly.  Depth  or  Descent. 

Ex. — I.  Errors,  like  straws,  upon  the  surface  flow  ; 

h.  o.  p. 
He  who  would  search  for  pearls,  must  dive  below. 

b.  h.  d.  f. 

2.  Deep  calleth  unto  deep  at  the  noise  of  thy  water  spouts. 

3.  Thou  hast  laid  me  in  the  lowest  pit. 

4.  Yea,  though  I  pass  through  the  Valley  of  the  Shadow  of  death,  I 

will  fear  no  evil. 

5.  O  DEATH,  where  is  thy  sting? 

6.  A  fire  is  kindled  in  mine  anger,  and  shall  burn  unto  the  lowest 

Hell. 

7.  Into  the  mouth  of  Hell  rode  the  six  hundred. 

8.  They  spend  their  days  in  luealth,  and  in  a  moment  go  down  to 

the  grave.  b.h.h.o. 

b.h.d.f. 

References  like  these,  tending  to  narrow  and  confine 
the  action,  naturally  employ  this  gesture. 

Both  Hands  Descending  Oblique  Supine. 

(Fig.  23.) 

I.  Emphatic  assertion  in  connection 
with  numbers,  or  space. 

Ex. —  I.  The  mind  doth  shape  itself  to  its  own 

wants,  and  can  bear  all  things. 
b.h.h.f.  b.  h.d.o. 

This  notation  must  be  considered 
with  reference  to  the  emphasis  rather 
than  to  the  descriptive  effect;  other- 
wise, all  things  would  take  b.  h.  h.  1. 

2.  Yet  millions  x\Q\ev  think  a  NOBLE  thought, 
b.h.h.o.  b.  h.d.o. 

By  the  law  of  analogy,  reference 
to  nohle  thoughts^  as  such,  would  re- 


Fig.  23. 


BOTH  HANDS  SUPINE.  8S 

quire  the  ascending  gesture,  but  in  the  present  case  the 
emphatic  negation  takes  precedence,  and  employs  the 
descending  line. 

II.  Impassioned  General  Assertion,  whether  affirm- 
ative or  negative. 

Ex. — I.  These  are  the  worst  of  abuses. 

2.  These  allegations  are  utterly  UNTRUE. 

III.  Consummation  and  Finalty. 

When  thus  employed — for  completeness  of  effect — 
this  gesture  may  also  coincide  with  either  of  the  pre- 
ceding applications ;  that  is  to  say,  the  expression  may 
be  consummated  in  an  empliatic  assertion  associated 
with  numbers  or  space,  or  in  an  impassioned  emphatic 
general  assertion ;  or  there  may  be  a  coincidence  of  all 
three. 


Ex. 


Let  the  sea  roar,  and  ihe  fulness  thereof;  the  world,  and  they 
b.h.h.o.  b.h.h.  1.  b.  h.  h.o. 


that  DWELL  therein, 
b.  h.  d.  o. 

2.  Without  counsel,  purposes  are  disappointed ;  but  in  the  multitude 

h.o.  d.  o.  b.  h.  h.  o. 

of  counsellors  they  are  established. 
b.  h.d.o. 

3.  His  terrors  keep  the  world  in  awe; 

r.  h.  h.o.  p. 
His  justice  guards  his  holy  law; 

r.h.h.l.p. 
His  love  reveals  a  smiling  face ; 
b.h.h.o. 
His  truth  and  promise  SEAL  the  grace, 
b.  h.d.o. 

i  V.  General  Deposition,  or  Surrender. 

\\\. — I.  We  commit  these  bodies  to  the  earth. 

2.  Every  personal  advantage  he  surrendered  to  the  common  good. 
li  h.h.o.  b.  h.d.  o. 

V.  Concession. 
Ex. — We  CONCEDE  these  points. 


84 


MAKUAL  OF  GESTURE. 


VI.  Humility,  General  Submission. 

Ex. — I.  We  humbly  confess  our  faults. 

2.  It  grieves  me  to  the  soul 

To  see  how  man  submits  to  man's  control. 

To  express  humility,  the  hands  should  descend  lowei 
than  in  the  ordinary  descending  gesture.  There  shoul(3 
also  be  a  corresponding  inclination  of  the  body  forward. 

Both  Hands  Descending  Lateral  Supine. 

(Fig.  24.) 

In  the  execution  of  this  gesture  avoid  keeping  the  elbows  too  near  the  body — a 
posture  suited  only  to  comedy. 


Fig.  24. 


I.  Depth  and  Extent  com- 
bined. Expansion,  Separa- 
tion. 

Ex. — I.  The  dread  volcano    ministers 


good. 
h.l. 


d.o. 


Its   smothered    flames   might 

undermine  the  WORLD, 
b.  h.d.l. 

2.  Wide  is  the  gate  and  broad 
b.  h.  d.  1.  rep. 

is  the  way  that  leadeth  to 

destruction. 

imp. 

3.  And  there  were  sudden  part- 

b.  h.d.l. 
INGS,  such  as  press 

The  life  from  out  young  hearts. 


b.  h.  d.  f. 

II.  Descent,  combined  with  numbers  or  space  ;  hence. 
Abundance,  Fullness,  Completeness.  Descending 
streams  of  Divine  goodness  prompt  this  gesture. 


Ex. — I.  Here  pardon,  life  and  joy  divine, 

b.  h.a.  o. 

In  rich  profusion  flow, 
b.  h.d.l. 


BOTH  HANDS   SUPINE.  85 


2.  Bring  ye  all  the  tithes  into  the  storehouse,  that  there  may  be 

b.  h.  h.  f. 
meat  in  mine  house,  and  prove  me  now  herewith,  saith  the 
imp.  rep. 

Lord  of  hosts,  if  I  will  not  open  you  the  windows  of  heaven 

b.  h.a.  o. 

and  pour  you  out  a  blessing,  that  there  shall  not  be  ROOM 

b.  h.d.  1. 

ENOUGH  TO  RECEIVE  IT. 

III.  Removal.    So  employed  in  impassioned  discourse, 
and  in  connection  with  numbers  or  space. 

Ex. — I.  Every  obstacle  to  this  measure  is  for  ever  swept  away. 
2.  All  the  foundations  of  the  earth  are  OUT  of  course. 

IV.  Remission,  in  the  fullest  degree. 

Ex. — And  sinners  plunged  beneath  that  flood, 

b.h.d.o. 

Lose  all  their  guilty  stains. 
b.h.d.l. 

V.  Concession  in  the  fullest  degree. 

Ex. — I  concede  every  point  claimed  in  the  argument. 

VI.  Submission,  Extreme  Humility. 

Ex. — I.  I  submit  myself  entirely  to  your  disposal. 

2.  Ye  worlds  and  every  living  thing, 
b.  h.  a.  o.  b.  h.  a.  \. 

Fulfill  his  high  command  ; 
b.h.h.o. 
Pay  grateful  homage  to  your  king, 
b.  h.  d.o. 

And  OWN  his  ruling  hand. 
b.h.d.l. 

VII.  Absolute  Renunciation,  Relinquishment,  Utter 
Abandonment,  Hopelessness.    The  gesture  of  extremity. 

Ex. — I.  I  utterly  renounce  all  the  supposed  advant^es  of  such  a  station. 
_  .  ,  ,  ,  sus 

2.  O,  you  mighty  gods! 

b.  h.  a.  o. 
This  world  I  do  renounce  ;  and  in  your  sight, 

b.h.d.l. 
Shake  patiently  my  great  affliction  off. 

rep 

3.  I  utterly  relinquish  any  such  expectation. 


86  MANUAL  OF  GESTtJEE. 


The  philosophy  of  this  notation  will  appear  by  a  com- 
parison of  the  last  example  above  with  the  following : 

I  do  most  fondly  cheeish  these  expectations. 

b.h.h.f. 

4.  If  thou  dost  slander  her  and  torture  me, 

r.  h.  h.  f.  ind.  rep. 

Never /^-oy  more;  abandon  all  remorse. 
rep.  b.  h.  d.  1. 

5.  How  unsearchable  are  His  judgments,  and  His  ways  PAST  finding 

^^^    b.h.d.f.  b.h.d.l. 

The  impossibility  of  finding  out  the  ways  of  the 
Infinite  suggests  here  the  gesture  of  hopelessness. 

6.  Plunged  in  a  gulf  of  dark  despair, 

b.  h.d.  f. 
We  wretched  sinners  lay, 

Without  one  cheerful  beam  of  hope, 
b.h.d.l. 
Or  SPARK  of  glimmering  day. 
imp. 

7-  All  is  LOST  ! 

Under  a  high  state  of  excitement,  despair  would  be 
more  fully  expressed  with  the  hands  prone,  or  with  the 
clinched  hands,  or,  in  extreme  cases,  pressed  upon  the 
forehead. 

VIII.  Privation,  Destitution,  Diminution,  etc. 

Ex. — I.  All,  when  life  is  new, 

r.  h.  h.  o. 
Commence  with  feelings  warm,  and  prospects  high, 

b.  h.  h.  o  b.  h.a.  o. 

But  time  strips  our  illusions  of  their  hue. 
b.h.d.l. 

2.  This  cruel  war  has  reduced  the  nation  to  bankruptcy. 

q.  All  this  boasted  knowledge  of  the  world, 

b.h.h.o. 

To  me  seems  but  to  mean  acquaintance  with 

Low  things,  or  evil,  or  indifferent. 

b.h.d.f.  prep.  b.h.d.l. 

4.  Look  how  we  ^W7^<?/ here  below, 
b.h.d.f. 

Fond  of  these  trifling  toys. 
b.h.d.l. 


BOTH  HANDS   SUPmE. 


87 


5,  I  have  seen  all  the  works  that  are  under  the  sun,  and  behold  all 
is  VANITY  and  vexation  of  spirit.  .... 


b.  h.d.I. 


rep. 


IX.  Cessation,  Destruction,  Annihilation,  Non- 
existence. 

Ex. — I.  This  vast  and  solid  earth,  that  blazing  supt, 
b.  h.h.  1.  a.  f.  ind. 

Those  skies  through  which  it  rolls  must  all  have  END. 
b.h.a.o.  b.  h.d.I. 

2.  Still,  monarchs  dream 

Of  universal  empire  growing  up 

b.h.h.l. 
From  universal  ruin. 
b.  h.d.I. 

Accompanied  with  strong  emotion,  or  under  any  cir- 
cumstances calling  for  a  purely  descriptive  effect,  refer- 
ence to  universal  ruin  would  require  the  prone  hands. 

3.  He  saw  nothing  around  him  but  utter  VACUITY. 


Both  Hands  Horizontal  Front  Supine. 

(Fig.  25.) 

I.  Earnest  Entreaty. 

Ex. — Listen,  I  implore  you,  to  the  voice  of  reason. 

Earnest  entreaty  assumes  an  advanced 
position,  inclining  the  body  forward  more 
or  less,  according  to  the  degree  of  earnest- 
ness. 

II.  Bold  Challenge. 

Ex. — I.  I  challenge  you  to  your  proofs. 
2.  Come,  Rhoderic  Dhu, 

And  of  his  clan  the  boldest  two. 

If  there  be  three  in  all  your  company,  dare 
r.  h.  h.  o. 
face  me   on  the    bloody  sands,  let   them 

come  ON.  r.h.h.l.ind. 

b.  h.  h.  f. 


Fig.  26. 


88  MANUAL  OF   GESTURE. 

Bold  challenge  assumes  a  retired  position,  bracing 
the  body  for  resistance.  Neither  Rhoderic  Dhu  nor  the 
gladiators  of  Capua  are  here  welcomed  to  a  feast,  but 
challenged  to  a  fight.  The  distinction  consists  not  so 
much  in  the  notation  of  the  gesture  as  in  the  manner  of 
its  execution,  which  affects  the  whole  posture  of  the 
body. 

3.   Here  I  stand  for  impeachment  or  trial !     I  dare  accusation  !     I 
h.  f.  d.  f.  h.  f. 

DEFY  the  honorable  gentleman  !     I  defy  the  Government !     I 
b.  h.h.f.  b.h.  h.o. 

defy  the  \y\\o\^  phalanx  !     Let  them  come  FORTH  ! 
b.h.h.l.  b.  h.h.f. 

III.  Bold  Command. 

jtv'x. — 1.  Press  bravely  onward  ! 

2.  On  !  On  ! — was  still  his  stern  exclaim. 

On  the  repeated  word  the  gesture  should  be  repeated, 
with  larger  preparation  and  more  force  both  of  voice 
and  action. 

IV.  Impulsion,  Propulsion. 

Ex. — I.  Onward  they  march  embattled,  to  the  sound 
b.  h.h.f. 
Of  martial  harmony. 
b.  h.  a.  o. 

2.  Then  rushed  the  steeds  to  battle  driven. 

imp. 

3.  Destruction  rushes  dreadful  to  the  field, 

b.h.h.l. 

And  bathes  itself  in  blood, 
b.  h.  d.  f. 

V.  Contiguity — Applicable  either  to  friendly  meet- 
ing, or  to  hostile  opposition. 

Ex. — I.  The  rich  and  the  poor  meet  together. 

2.  Mercy  and  truth  are  MET  together,  righteousness  and  peace 

have  kissed  each  other. 

3.  The  eager  armies  met  to  TRY  their  cause. 

4.  Front  to  front, 

Bring  thou  this  fiend  of  Scotland  and  mjself. 


BOTH  HANDS   SUPINE. 


89 


5.  When  Greek  MEETS  Greek,  then  comes  the  tug  of  war. 

6.  Confront  the  battery's  jaws  of  flame. 

7.  Wisdom  and  fortune  combatting  together ;  ' 

b.  h.  h.  f. 

If  that  the  former  dare  but  what  it  can, 
rep.  rep. 

No  chance  may  shake  it. 
b.  h.d.  f. 

VI.  Presentation. 

Ex. — I.  These  are  the  facts  upon  which  I  base  my  argument. 

sus. 

2,  Home,  kindred,  friends,  and  country — THESE  are  ties  with  which 
we  never  part.  *"'•        b.h.h.f. 

b.h.d.  f. 

Here  we  first  enumerate  a  series,  sweeping  through  it 
with  one  hand  in  descriptive  reference,  and  then,  as  it 
were,  gather  up  and  present  the  whole  with  both  hands. 
For  greater  emphasis,  as  well  as  for  completeness  of 
effect,  the  action  is  finished  in  the  descending  line. 

Both  Hands  Horizontal  Oblique  Supine. 

(Fig.  26.) 

The  general  tendency  here  to 
spread  -the  hands  too  wide  apart 
should  be  carefully  avoided.  Half 
way  between  the  front  and  the 
lateral  is  the  rule.  Better  a  little 
inside,  than  outside  of  this  line. 

I.  General  Address  —  Appeal, 
Command,  Exhortation,  Welcome, 
etc. 

Ex. — I.   Fellow-citizens:    I  appeal   to  your 
better  JUDGMENT  for  the  decision 
of  this  question. 
2.  To  arms  !    To  arms  !   A  thousand 
voices  cried.    "^^^P" 


Fig.  26. 


90  MANUAL   OF   GESTURE. 

3,  Arm,  warriors,  arm  for  the  fight. 

4.  Come  ON,  then  ;  be  men. 

5,  Come  FORTH,  O  ye  children  of  gladness,  come  ! 

6,  Welcome  once  more  to  your  early  home  ! 

sus. 

7.  Our  hearts  and  our  hands  are  open  to  receive  you. 

8.  Friends,  Romans,  Countrymen,  lend  me  your  ears. 

prep.  b.  h.  h. o.  rep. 

II.  Opening,  Disclosing,  Revealing,  etc. 

Ex. — I.  In  the  last  great  day  the  books  shall  be  opened. 

2.  The  secret  thoughts  of  our  hearts  shall  be  revealed. 

3.  His  love  reveals  a  smiling  face. 

III.  Fulness,  Abundance,  and,  by  analogy,  genial  and 
expansive  ideas  generally. 

Ex. — I.  The  Lord  fulfill  all  thy  petitions. 

2.  In  the  house  of  the  righteous  is  much  treasure. 

3.  The  field  of  honorable  labor  lies  before  us. 

4.  This  is  my  own,  my  native  land. 

5.  Mingles  with  the  friendly  bowl^ 

r.  h.  h.  o. 
The  feast  of  REASON  and  the  flow  of  SOUL, 
b.  h.h.  o.  rep. 

6.  The  world  is  bright  before  thee. 

7.  Christianity  breathes  love  and  peace  and  good  will  to  man. 

prep. 

IV.  Comparison  and  Contrast,  Resemblance,  Paral- 
lelism, etc. 

Ex, — I.  Take  these  things  and  compare  them. 

sus. 

2.  In  the  day  of  prosperity  ho.  joyful,  but  in  the  day  of  adversity 

a.  o. 

consider  :  God  also  hath  set  the  one  over  against  the  other. 
h.  f.  ind.  prep.  b.  h.  h.  o. 

3.  To  Him  the  darkness  and  the  light  are  both  alike. 

4.  Our  Great  Advocate  is  allied  to  both  parties  in  this  controversy. 

V.  Forward  Motion.     When  less  emphatic,  or  when 


BOTH   HANDS  SUPINE. 


91 


embracing    more    space,  this    frequently  prefers    the 
oblique  to  the  front. 

Ex. — I.  Roll  on,  thou  deep  and  dark  blue  ocean — roll. 

rep. 

2.  The  eternal  surge 
Of  time  and  tide  rolls  on. 

3.  Life  bears  us  on  like  the  current  of  a  mighty  river. 

4.  Advance,  then,  ye  future  generations. 

Both  Hands  Horizontal  Lateral  Supine, 

(Fig.  27.) 


I.  Large  Numbers  or 
Spac€,  Universality,  Ut- 
most Expansion,  Universal 
Appeal,  Challenge,  etc. 

Ex. — I.  Is  not   the   king's    name 
FORTY  THOUSAND  names? 

2.  They  yet  slept  in  the  wide 
ABYSS  OF  possibility. 

3.  How  many  pleasant  faces 
shed  their  light  on  every 
side. 

4.  Let  the  sea  roar,  and  the 

b.h.h.o. 
fulness  thereof, 
b.h.h.l. 

5.  Knowledge  or  wealth  to  few  are  given, 

r.  h.  h.  1. 
But  mark  \vovfjust  the  ways  of  Heaven : 

h.  o. ind. 
True  joy  to  all  is  free, 
b.h.h.l. 

6.  These  glorious  truths  shall  be  diffused  throughout  the  whole 

WORLD. 

7.  All  the  ends  of  the  earth  have  seen  the  salvation  of  our  God. 

8.  Let  every  thing  that  h?^tb  BREATH  praise  the  Lord. 


Fig.  27, 


92  MANUAL   OF    GESTURE. 

9.  I  appeal  to  the  impartial  judgment  of  all  mankind. 

10.  Come  one,  come  all  !  this  rock  shall  fly 
b.  h.  h.l.      r.h.d.o.b. 
From  its  firm  base  as  soon  as  I, 
sus. 

Large  expansion  generally  prefers  both  hands,  but 
may,  under  tranquil  circumstances,  sometimes  be  indi- 
cated with  one  hand.  In  moderate  expansion,  one  hand 
is  usually  adequate. 

Universality  in  unity  may,  for  the  most  part,  be  ex- 
pressed with  one  hand ;  universality  in  plurality  gen- 
erally requires  both  hands. 

II.  Unfolding,  Displaying,  etc. 

Ex.— I.  The  landscape,  outstretching  in  loveliness,  lay  on  the  lap 
of  the  year  in  the  beauty  of  May. 

2.  His  pui-poses  will  ripen /izj/, 

b.  h.  h.  o. 

Unfolding  every  hour. 
b.  h.  h.l. 

3.  One  of  the  chief  objects  of  interest  was  the  magnificent  display 

OF  national  banners. 

4.  Look  on  this  beautiful  world  and  read  the    truth     in  her  fair 

pages.  ^-^^-h-^-  ^-^^-h-f- 

sus. 

5.  All  the  proud  virtue  of  this  vauntlng  world 

b.h.h.I. 

Fawns  on  success  and  power,  howeer  acquired, 
b.h.d.o.  b.h.d.l. 


Both  Hands  Ascending  Front  Supine. 

(Fig.  28.) 

I.  Earnest  Sacred  Address  —  Appeal,  Adoration, 
Ascription,  Praise,  Thanksgiving,  Confession,  Suppli- 
cation, etc. 

Ex. — I.  We  appeal  to  Thee,  Thou  righteous  Judge. 
2.  Father  Supreme,  Thou  ONLY  God  ! 


BOTH   HANDS   SUPINE. 


98 


3.  We  render  Thee  praise  and  thanksgiaing. 

4.  Against  Thee,  Thee  only  have  I  sinned^ 

and  done  this  evil  in  Thy  sight. 

5.  Lord,  I  have  called  DAILY  upon  Thee,   I 

have    STRETCHED    OUT    MY    HANDS    UntO 

Thee. 

6.  Hear  my  cry,  and  give  ear  to  the  voice  of 

my  supplication. 

7.  Into  Thine  hand  I  commit  my  spirit. 

The  object  here  is  to  lay  down  the 
general  principles  of  gesture,  leaving 
the  individual  to  determine  for  himself, 
according  to  his  own  feelings  and  sense 
of  propriety,  how  much  action  to  em- 
ploy in  addressing  the  Deity.  The  older  divines  were 
more  demonstrative  in  this  respect  than  those  of  the 
present  day.  Such  gestures  are  more  common  in  oblique 
than  in  direct  discourse  ;  as, 

my  bleeding  country  save  !  " 


Fig.  28. 


O,  Heaven  !"  he  cried, 
b.  h.  a.  f. 


rep. 


II.  Sacred  Reference. 


Ex. — I.  In  contemplation  of  created  things,  by  steps  we  may  ascend  to 
r\QYi  ^*  ^"  ^'  °*  ^^°^  P^'cp- 

b.  h.  a.'f. 

2.  Pay  thy  vows  unto  the  Most  High. 

3.  Of  Him,  and  through  Him,  and  to  Him  are  all  things, 
b.  h.a.  f.  rep.  rep.  sus. 

III.  Elevation,  Sacredness,  Sublimity. 

Ex, — I.  Auspicious  Hope  !  in  thy  sweet  garden  grow 
b.  h.  a.  f. 

Wreaths  for  each  toil,  a  charm  for  every  woe. 
rep.  b.  h.  d.  o. 

2.  O,  sacred  Truth,  thy  triumphs  ceased  zwhW^. 

b.h.a.f.  b.  h.d.f. 

3.  And  hence,  in  middle  heaven  remote,  is  seen 

The  mount  of  God,  in  awful  glory  bright. 


94 


MANUAL   OF   GESTURE. 


Both  Hands  Ascending  Oblique  Supine. 


(Fig.  29.) 


Fig.  29. 


General  Elevation  and  Sub- 
limity, Sublime  Apostrophe,  Devo- 
tional Address. 

Ex. — I.  Behold  the  everlasting  hills. 

2.  The  gathering  clouds,  like  meeting 

ARMIES,  come  on  apace. 

3.  Mutual  love,  the  crown  of  all  our 

b.  h.  h.o.        b.  h.a.  o. 
BLISS. 

4.  Legions  of  angels  shall  guard  you 

home. 

5.  Hail,     holy   Light !     offspring     of 

Heaven,  first-born. 

6.  Ye   stars,  which  are  the  poetry  of 

Heaven. 


7.  The  windows  of  Heaven  were  opened. 

8.  Open  unto  me  the  gates  of  righteousness. 

9.  O  Liberty, 

b.  h.  a.  o. 
Parent  of  happiness,  celestial  born  ; 
rep. 

When  the  first  man  became  a  living  soul, 

His  sacred  genius  thou, 
rep. 

10.  Hail  !  universal  Lord  ! 


Many  of  the  uses  assigned  to  the  horizontal  line  qI 
gesture,  as  fulness,  abundance,  comparison,  etc.,  when 
combined  Avith  elevation  or  sublimity,  would,  of  course, 
take  the  ascending  instead  of  the  horizontal. 


.  BOTH  HANDS   SUPINB.  95 

Both  Hands  Ascending  Lateral  Supine. 

(Fig.  30.) 

I.  Elevation,  Sacredness,  or 
Sublimity,  conjbined  with  the 
Utmost  Expansion,  or  with  very 
large  numbers  or  space. 

Ex. — I.  Hail   to   the  joyous   day  !   with 
b.  h.  a.  o. 

purple  clouds 

The  WHOLE  HORIZON  glows, 
b.h.a.l. 

2.  Jehovah  dwells  in  light  and  glory 

INEFFABLE. 

3.  O'er  all   those  wide-extended 

PLAINS 

Shines  one  eternal  day. 

4.  Here  oft  FiG.  30. 
The  sons  of  bliss  take  morn  or  evening  pastime, 
Delighted  to  behold  ten  thousand  worlds 

Around  their  suns  revolving  in  the  vast  external  space. 

5.  One  sun  by  day,  by  night  ten  thousand  shine, 
r.h.a.  f.  b.h.a.l. 

6.  Heaven  opened  wide 
Her  ever-during  gates. 

Here  we  have  opening  without  external  force,  there- 
fore the  hands  are  supine.  The  emotion  of  joy  may  be 
added  by  quickening  the  movement. 

II.  Joy  or  Exultation  in  the  highest  degree.  The 
boldest  style  of  Triumph. 

Ex. — I.  Joy,  joy  forever  !  my  task  is  done — 

The  gates  are  passed  and  Heaven  is  won  ' 

2.  Cherubic  legiotis  guard  him  home, 

b.  h.a.  o. 

And  shout  him  welcome  to  the  skies ! 
b.h.a.l. 

3.  Through  the  vast  of  heaven 

It  sounded,  and  the  faithful  armies  rung 
Hosanna  to  the  Highest  ! 


CHAPTER  VI. 


RIGHT  HAND   PRONE. 


Fig.  31. 

The  primary  signification  of  the  prone  hand  is  Super- 
position or  Superincumbency.  First,  we  have  the 
physical  representation  of  one  thing  placed  or  lying 
upon  another,  as  in  the  following  example  : 

The  thunder  clouds  closed  o'er  it. 
b.  h.  h.  o.  prone. 

Analogous  to  this  is  the  intellectual  or  moral  condi- 

o 

tion ;  as. 

The  cloud  of  adversity  threw  its  gloom  over  all  his  prospects. 

r.  h.  h.  1.  prone. 

Tracing  the  analogy  still  farther,  we  come  to  the 
realm  of  feeling  and  emotion.  While  the  supine  hand 
expresses  naked  truth — the  bare  thought,  or  intellectual 
idea — the  prone  clothes  the  thought  with  some  repres- 
sive emotion,  as  scorn,  grief,  sadness,  or  any  sentiment 
of  a  grave,  solemn  or  subdued  character. 


RIGHT   HAND   PRONE.  97 

Compare  the  following  examples : 

1.  I  REJECT  the  imputation. 

r.  h.  d.I.  supine. 

2.  I  reject  the  imputation  with  scorn. 

r.  h.  d.I.  prone. 

Compare  also  the  following : 

1.  He  was  an  eye  witness  to  that  scene. 

r.  h.  h.  1.  supine. 

2.  He  was  an  eye  witness  to  that  solemn  scene. 

r.  h.  h.  1.  prone. 

Associations  requiring  the  prone  position  of  the  hand 
may  be  expressed  in  words,  or  suggested  by  the  con- 
text, or  they  may  grow  out  of  the  speaker's  feelings,  or 
his  knowledge  of  accompanying  circumstances.  The 
idea  of  superposition — physical  or  moral — may  exist 
only  by  implication,  as  when  the  object  referred  to  is 
supposed  to  be  beneath  some  other  object. 

The  relation  of  the  prone  to  the  supine  hand  may,  in 
general  terms,  be  thus  stated :  • 

The  supine  hand  is  communicative,  and  has  the  power 
of  address ;  the  prone  is  repressive. 

The  supine  is  permissory  ;  the  prone  is  prohibitory. 

The  supine  is  impulsive  ;  the  prone  is  compulsive. 

The  supine  is  genial ;  the  prone  is  aversive. 

The  signification  of  the  prone  hand  as  compared  with 
the  supine  is  further  illustrated  by  the  following  ex- 
amples : 

1.  Speak  forth.  ' 

r.  h.  h.  f.  supine. 

2.  Keep  silence. 

r.  h.  h.  f.  prone. 

3.  'T  was  MUSICAL,  but  SADLY  sweet. 

r.  h.  a.  o.  supine,     r.  h.  a.  o.  prone. 


98 


MANUAL  O^  G^STtJBE. 


4.  A  talebearer  revealeth  secrets  ;  but  he  that  is  of  a  faithful 

r.  h,  h,  o.  supine. 

spirit  CONCEALETH  the  matter, 
r.  h.  h.  o.  prone. 

5.  And  it  opened  its  fan-like  leaves  to  THE  LIGHT, 

r.  h.  h.  1.  supine. 

And  CLOSED  them  beneath  the  kisses  of  night, 
r.  h.  h.  1.  prone.  sus. 

6.  Now  green  in  YOUTH,  now  withering  on  the  ground. 

r.  h.  h.  o.  supine  r.  h.  d.  o.  prone. 

7.  Hush  !  breathe  it  not  aloud, 

h.  f.  prone.  h.  o.  prone. 

The  wild  WINDS  must  not  hear  it !     Yet  again 

h.  L  prone.  h.  f.  supine. 

I  tell  thee — we  are  free  ! 

b.  h.  h.  1.  supine. 


Right  Hand  Descending  Front  Prone. 


(Fig.  32.) 


Fig.  32. 


I.  Suppression,  Depression,  Dejec- 
tion, and  kindred  ideas. 

Ex. — I.  Put  DOWN  the  unworthy  feeling. 

2.  Even  Genius  itself  then  feels  rebuked 
and  SUBDUED  as  in  the  presence  of 
higher  qualities. 

II.  Imprecation,  Destruction. 

Ex. — I.  May  curses  blast  thy  arm, 

2.  Thy  money  perish  with  thee  ! 

3.  Dust  thou  art,  and  unto  dust  shall  thou 

return. 

4.  Down  with  the  tyrant. 


BIGHT  HAND  PRONE. 


99 


Right  Hand  Descending  Oblique  Prone. 

(Fig.  33.) 

I.  Superposition,  physical  or  moral. 

Ex. — I.  Yet  on  the  rose's  humble  bed, 

The  sweetest  dews  of  night  are  shed. 

2.  The  storm  of  grief  bears  hard  upon  his 

youth, 
And  BENDS  him  Hke  a  drooping  flower 
to  earth. 

3.  Death    lies    on  her  like   an    untimely 

d.  o.  p. 
FROST 
imp. 
Upon  the  sweetest  flower  of  all  the  field. 

4.  Like  shiep  they  are  laid  in  the  grave  ; 

DEATH  shall  feed  on  them. 

5.  These  lofty  trees  wave  not  \^%% proudly 

h.o.  h.l. 

That  their  ancestors  moulder  beneath 
them.  ^-^-P- 

6.  Truth  crushed  to  EARTH  shall  rise  again. 

d.  o.  p.  h.o, 

7.  Religion    raises   men   above  themselves ;    irreligion  sinks  them 

beneath  the  brutes.  *•  °- 
d.  o.  p. 


Fig.  33. 


That  power  is  used  not  to  benefit  mankind,  but  to  crush  them, 
h.  1.  s.  d.  o.  p. 


8 

II.  Prostration 
Ex. — I 


Lo  !  the  tyrant  prostrate  on  the  DUST, 
d.o.  ind.  d.o.  p. 

2.  Like  the  dust  before  the  whirlwind  tliose  men  fly 
a.  1.  s. 
That  prostrate  on  the  ground  of  FORTUNE  lie. 

d.  o.  p. 

III.  Suppression,  Repression,  etc.,  generalized. 

Ex. — I.  Let  every  true  patriot  REPRESS  such  a  feeling.  - 

2.  Their  spirits  were  depressed  by  the  weight  of  adversity. 

3.  The  enemy  was  completely  subdued. 

5» 


100 


MANUAL  OF   GESTTJ&E. 


4.  Man  on  his  brother's  heart  hath  trod. 

5.  Thou  shalt  tread  upon  the  lion  and  adder  :  the  young  lion  and 

the  dragon  shalt  thou  trample  under  FEET. 

IV.  General  Imprecation,  Utter  Destruction,  Destruc- 
tion by  Violence. 

Ex. — I.  Be  ready,  gods,  with  all  your  thunder-\jo\X.%, 
b.  h.  a.  o.  rep. 

Dash  him  to  pieces  ! 
r.  h,  d.  o.  p. 

2.  Blasted  be  such  hopes  ! 

3.  They  shall  be  punished  with  everlasting  DESTRUCTION. 


Right  Hand  Descending  Lateral  Prone. 

(Fig.  34.) 

I.  Superposition. 

Ex. — I.  The  hand  of  affection  shall  smooth 
THE  TURF  for  your  last  pillow. 
2.  Blessed  is  the  man  whose  transgres- 
sion   is    forgiven,    whose    sin    is 

COVERED.     ^•'•^• 

II.  Cessation,  Dissolution — Des- 
truction without  violence. 

Ex. — I.  The  tumult  ceased  ! 

2,  Gradual  sinks  the  breeze  into 
A  perfect  calm. 

Slow  movement  of  the  hand  outward  and  down- 
ward throughout  the  entire  sentence. 

3.  Fled  is  the  blasted  verdure  of  the 

fields. 

Here,  as  in  the  preceding  example,  the  preparation 
precedes  the  voice ;  but  in  this  case  the  entire  gesture 
is  rapidly  executed  upon  the  first  word. 

4.  I  buried  sorrow  for  his  death  in  the  grave  with  him. 

Reference  to  the  grave  may  be  made  with  any  of  the 


Fig.  34. 


RIGHT   HAND  1>R0NE.  lOl 

descending  gestures,  the  hand  supine  or  prone,  accord- 
ing to  the  associated  idea  or  the  degree  of  emotion. 

5.  Thus  is  my  summer  worn  away  and  wasted. 

6.  How  the  innocent, 

h.  o.  s. 
As  in  a  gentle  slumber,  pass  away  ! 
d.l,  p. 

T.  At  His  rebuke  the  billows  die. 
r.  h.  and  eyes  uplifted. 

8.  Earth,  that  nourished  thee,  shall  claim 
h.f. 

Thy  growth  to  be  resolved  to  earth  again. 

d.l. p. 

III.  Scorn,  Contempt,  Scornful  Denial,  or  Rejection. 

Ex. — I.  I  SCORN  the  base  insinuation. 

2.  I  reject  the  offer  with  disdain. 

3.  I  despise  an  action  so  mean. 

Right  Hand  Descending  Oblique  Backwards  Prone. 

(Fig.  35.) 

Abhorrence,  Detestation,  Abhor- 
rent Repression,  Scornful  and  Con- 
temptuous Rejection,  etc. 

Ex. — I.    Thy  threats    I    scorn;   thy    mercies    I 

despise.  ^-  '•  P- 

d.o.  b.  p. 

2.  Tell  me  I  hate  the  bowl ; 

d.o. 
Hate  is  3i  feeble  word  : 
d.l. 
I  loathe,  ABHOR, 
d.l.  p.    d.o.b.  p. 

3.  Down,  tempting  fiend  ! 

4.  I  reject  the  imputation  with  scorn  and 

contempt.  Fig.  35. 

In  the  third  example  the  face  and  eyes  are  turned 
in  the  direction  of  the  gesture ;  in  the  other  examples 
they  are  averted,  as  in  fig.  35. 


102 


MANUAL  OF   GESTURE. 


Fig 

Ex.— I. 

2. 
3. 
4. 

5. 

6. 

7. 
8. 

9- 
10. 
II. 
12. 
13- 
14. 
15- 
16. 
17- 


Right  Hand  Horizontal  Front  Prone. 

(Fig.  36.) 

I.  Restraining,  Arresting,  Refraining, 
Seizing,  Checking,  Prohibiting,  and  the 
like  ;  usually  in  connection  with  direct 
personal  address.  The  accompanying 
figure  shows  this  gesture  in  its  mildest 
form,  as  adapted  to  unemphatic  speech, 
as  in  the  example  ''  Step  softly,"  etc. 
In  more  emphatic  utterance,  the  hand 
and  arm,  and,  it  may  be,  the  whole 
body,  are  projected  forward  with  a  de- 
gree of  energy  proportioned  to  the  senti- 

or.  ment. 

.  36. 

Restrain  the  unhallowed  propensity. 

Arrest  the  wandering  thought. 

Refrain,  I  entreat  you,  refrain  from  such  a  course. 

Seize  the  fleeting  angel  fast,  nor  let  him  go. 

Check  the  raging  passion. 

Hush,  boding  voice ! 

Peace  !  be  still  ! 

Step  softly,  that  the  blind  mole  hear  not  a  foot-fall. 

Speak  gently  ! 

Tread  lightly,  speak  low,  the  old  man  is  dying. 

Be  not  rash  with  thy  mouth. 

Teach  not  thy  lips  such  scorn. 

Stay  thy  impious  hand  ! 

Stand,  Bayard  !  Stand  ! 

O,  Hamlet,  speak  no  more. 
h.f.s.  h.  f.p. 

I  FORBID  the  alliance. 

Touch  not,  taste  not,  handle  not. 


BIGHT  HAND   PRONE. 


103 


II.  Sacredness,  Solemnity,  Awe,  or  whatever  tends  to 
subdue  the  feelmgs. 

Ex. — I.  Take  off  thy  shoes  from  off  thy  feet :  the  place  whereon  thou 
standest  is  holy  ground. 

2.  Let  the  awe  of  the  divine  hand  be  upon  you. 

3.  Down  the  dark  future,  through  long  GENERATIONS, 

The  echoing  sounds  grow  fainter,  and  then  cease. 

drop. 

4.  O,  blindness  to  the  future  !  kindly  given 

h.f.  p.  h.o.  s. 

That  each  may  Jill  the  circle  marked  by  Heaven. 
h.l.s. 

III.  Execration. 

Ex. — I.  The  worm  of  conscience  still  be-gnaw  thy  soul  ! 

2.  Proud  city  thou  art  doomed  !  the  curse  of  Jove,  a  living,  lasting 
CURSE  is  on  thee  ! 

IV.  Deprecation. 

Ex. — Let  not  thine  anger  burn  against  thy  servant. 


Right  Hand  Horizontal  Oblique  Prone 

(Fig.  37.) 

I.  Restraining,  Arresting,  etc.,  as  in 
the  preceding  gesture,  generalized. 

Ex. — I.  I  charge  you  as  men,  and  as  Christians,  to 
iay  a  restraint  upon  all  such  dispositions. 
2.  Friendship  has  a  power 

To  soothe  affliction  in  her  darkest  hour. 

II.  Sacredness,  Solemnity,  Awe,  Sad- 
ness, etc.,  generalized. 

Ex. — I.  How  solemn  these  scenes ! 

2.  His  terrors  keep  the  world  in  awe  ! 

In  this  second  example,  the  language 
is  regarded  as  but  a  slight  remove  from 
didactic   discourse :    hence  we  employ 


Fig.  37. 


104 


MANUAL   OF   GESTURE. 


this  mild  form  of  gesture.  The  emotion  of  awe  may 
demand  quite  a  different  style  of  action,  as  will  be  seen 
hereafter. 

3.  Speechless  he  stood,  and  pale. 

4.  As  a  cloud  darkens  the  sky,  so  sorrow  casts  a  gloom  over  the  SOUL. 

a.  o.p.  h.  o.  p. 


Right  Hand  Horizontal  Lateral  Prone. 

(Fig.  38.) 

I.  Extension  in  time,  space  or 
thought,  combined  with  Superpo- 
sition, Superincumbency,  or  with 
analogous  mental  or  moral  condi- 
tions; Descriptive  Reference. 

Ex. — I.  The  golden  light  of  evening  lay  over 

THE  WHOLE  VALLEY. 

2.  The    cloud    of   adversity  threw  its 

gloom  OVER  ALL  HIS  PROSPECTS. 

3.  From  the  center  to  the  far  off  horizon 
of  his  POWER  he  could  see  nothmg 
but  the  DESOLATIONS  he  had 
made. 

4.  Now  fades  the  glimmering  land- 
scape on  the  sight. 


Fig.  88. 


5.  The  silent  heart  which  ^rz>/ assails, 
h.o.p. 
Treads  soft  and  lonesome  o'er  the  vale. 
h.  L  p. 

II.  Distant  Reference  combined  with  Superposition, 
or  with  Repression,  Gloom,  Dejection,  etc. 

In  referring  to  a  distant  locality,  the  straight  line  is 
sometimes  more  effective  than  the  curve,  for  the  execu- 
tionary  movement.     In  extension,  the  curve  is  neces- 


RIGHT   HAND   PRONE.  105 

sary  in  order  to  indicate  the  intervening  space.  The 
line  from  the  head  to  the  hand,  in  fig.  38,  may,  therefore, 
curve  or  not,  according  to  circumstances. 

Ex. — I.  Something  of  sadness  wrapped  the  spot. 

2.  When  far  from  the  parental  roof,  the  youth  paused  and  REFLECTED 

upon  his  course. 

3.  Mercy  wept  over  the  melancholy  scene  ! 

4.  What  pale  distress  afflicts  those  wretched  isles ! 

h.l.p. 

There  hope  ne'er  dawns,  and  pleasure  never  SMILES. 

5.  With  eyes  upraised,  as  one  inspired. 
Pale  Melancholy  sat  retired. 

III.  Removal,  Withdrawal,  etc. 

Ex. — I.  Put  AWAY  from  thee  a  fro  ward  mouth. 

2.  When  the  ivicked  rise,  men  HIDE  themselves. 

h.  o.  h.  1.  p. 

3.  The  sun  withdrew  his  cheering  ray. 

Right  Hand  Horizontal  Oblique  Backwards  Prone. 

(Fig.  39.) 

This  gesture  is  employed  much 
the  same  as  the  preceding  one,  ex- 
cept that  it  expresses  ideas  requir- 
ing a  wider  sweep  of  the  hand.  Its 
special  signification  is  Remoteness 
in  time  or  space,  combined  with 
Superposition,  or  with  any  repres- 
sive emotions. 

Ex. — The  wickedness  of  the  antediluvian 

h.o.  b.  p. 

world  provoked  the  judgments  pf 

Heaven, 
a.  f.  p. 

Fig.  89. 


106  MANUAL  OF  GESTURE. 

Right  Hand  Ascending  Front  Prone. 

(Fig.  40.) 

Supernal  Restraint,  or  Prohibition. 

Ex. — Justice  cries  forbear  ! 


Fig.  40.  Fig.  41.  Fig.  42. 

Right  Hand  Ascending  Oblique  Prone. 

(Fig.  41.) 

I.  Elevation,  combined  with  Superposition,  or  Repres- 
sion, or  analogous  ideas. 

Ex. — I.  The  rising  moon  has  HID  the  stars. 

2.  And  THOU,  pale  moon !  turn  paler  at  the  sound, 
r.  h.  a.  o.  r.  h.  a.  o.  p. 

II.  Supernal  Restraint,  or  Prohibition  generalized. 

Ex. — Ye  gods,  WITHHOLD  your  wrath  ! 

Right  Hand  Ascending  Lateral  Prone. 

(Fig.  42.) 

Elevation  or  Sublimity  combined  with  Distance  or 
Extension,  and  associated  with  Superposition  or  Repres- 
sion. 


EIGHT  HAND   PRONE. 


lOT 


Ex. — I.  The  mountain  top  was  wrapped  in  mists. 

2.  So  darkly  glooms  yon  thunder  cloud, 

a.  1.  ind. 

That  SWATHES  AS  WITH  A  PURPLE  SHROUD, 

a.  1.  p. 
Benledi's  distant  hill. 
a.  1.  ind. 

3.  I  had  a  dream  that  was  not  all  a  dream ; 

raise  and  drop  the  hand. 

The  bright  sun  was  extinguished,  and  the  stars 
d.o.p 

Did  wander,  darkling  in  the  eternal  space 

a.  L  p. 

Rayless  zxiA  pathless,  and  the  icy  earth 
drop. 

Swung  blind  and  blackening  in  the  moonless  air. 

a.  1.  p. 


Right  Hand  Ascending  Oblique  Bacicwards  Prone. 

(Fig.  43.) 


Remoteness  in  time  or  space  com- 
})inecl  with  Elevation  or  Sublimity, 
and  associated  with  Superposition,  or 
with  any  repressive  emotion. 

Ex. — I.  Wrapped  in  the  mists  of  the  remotest 

ANTJQUITY. 

2.  On  my  flight,  through  utter  and  through 

middle  darkness  borne. 

3.  The  law  was  given  amidst  the  thunder- 

ings  of  Sinai. 


Fig.  43. 


CHAPTER  VII. 


BOTH    HANDS    PRONE. 
Both  Hands  Descending  Front  Prone. 

(Fig.  44.) 

Superposition,  Suppression,  etc. 

Examples. — i,  {Gentle  E^notion.)    Green  be  the  turf  above  thee. 

2.  Lie  LIGHTLY  on  her,  Earth — her  step  was  light  on  thee. 

3.  ( Vehement  Emotion^     Buried  be  the  unworthy  thought 

for  ever ! 


Fig.  44.  Fig.  45. 

Both  Hands  Descending  Oblique  Prone. 

(Fig.  45.) 

I.   Superposition,    Suppression.       Embracing    larger 
numbers  or  more  space  than  the  gesture  in  front. 


BOTH  HANDS   PRONE. 


109 


Ex. — I.  Buried  be  all  such  thoughts. 

2.  lo  prevail  in  the  cause  that  is  dearer  than  life, 
b.  h.  Ii.  o. 

Or  be  crush'd  in  its  ruins  to  die  ! 
b.  h.  d.  o.  p. 

II.  Prostration. 

Ex. —  I.  They  forthwith  to  the  place 

Repairing  where  he  judged  them,  prostrate  fell 

Before  him  reverent. 
imp. 

2.  Sons  of  dust,  in  REVERENCE  bow ! 
b.  h.h.o.       b.  h.d.o.  p. 


Both  Hands  Descending  Lateral  Prone. 

(Fig.  46.) 

I.  Superposition  or  Superin- 
cumbency,  physical  or  moral. 

Ex. — I.  Thou  hast  forgiven  the  iniquity  of 
Thy  people ;  Thou  hast  covered 
all  their  sin. 

2.  If  we    attempt    to    compass  the 

idea  of  eternity,  we  are  over- 

b.h.a.l.  b.h.d.l.p. 

WHELMED  by  the   contempla- 
tion of  a  theme  so  vast. 

3.  The  golden  sun, 

a.  f. 
The  planets,  all  the  infinite  host 
a.  o. 
of  heaven, 
b.h.a.l. 
Are  shining  on  the  sad  abodes  of 

DEATH. 

b.h.d.l.p. 

II.  Privation,  Deprivation,  Divestiifg,  and  the  like, 
when  accompanied  with  strong  emotion,  prefer  the 
prone  to  the  supine,  and  express  themselves  with  this 
style  of  gesture. 


Fig.  46. 


no 


MANUAL  OF   GESTUKE. 


Ex. — I.  Alas  !  how  poor  and  little  worth, 
b.  h,  upl. 
Are  ail  these  glittering  toys  of  earth. 

2.  O  may  I  no  longer  dreaming, 
Idly  WASTE  my  golden  days  ! 

To  describe,  here,  the  slow  process  of  wasting,  there 
should  be  a  softening  or  smoothing  of  the  gesture — 
a  slow  motion  of  the  hands. 

III.  Cessation,  Dissolution,  Utter  Destruction,  etc. 

Ex. — I.  Here  let  the  tumults  of  passion  forever  cease  ! 

2.  This  great  fabric  shall  be  dissolved  ! 

3.  He  uttered  his  voice,  the  earth  melted. 

a.f. 

4.  Death  levels  all  things  in  his  march. 

5.  All  things  decay  with  time. 

IV.  Extreme  Humility,  Self-abasement. 

Ex. — Wherefor  I  abhor  myself,  and  repent  in  dust  and  ASHES. 

V.  Renunciation,  Hopeless  Relinquishment,  Utter 
Abandonment,  Despair. 

Ex. — I,  I  utterly  renounce  all  hope. 

2.  Without  shedding  of  blood  there  is  no  remission. 

Both  Hands  Horizontal  Front  Prone. 

(Fig.  47.) 

I.  Superposition,  etc. 

Ex. — On  horror's  head  horrors  ACCUMULATE. 

II.  Benediction  (upon  an  individ- 
ual). 

Ex. — A  father's  choicest  blessings  rest  on  thee. 

III.  Execration. 

Ex. — Take  with  thee  thy  most  heavy  curse, 

Which  in  the  day  of  battle  tire  thee  more 
Than  all  the  complete  armour  that  thou 
wear'st ! 

IV.  Deprecation. 

T^         .„  Ex. — Pause  !  I  implore  you,  pause  ! 

Fig.  47.  ^      ^ 


BOTH  HANDS  PRONE. 


Ill 


Both  Hands  Horizontal  Oblique  Prone. 

(Fig.  48.) 

I.  Superposition. 

Ex. — The  veil  of  night  came  slowly  DOWN. 

II.  Benediction. 

Ex. — Heaven's  choicest  blessings  rest  upon  you  all. 

III.  Execration. 

E.K. — Heaven's  heaviest  CURSE  shall  fall  on  you. 


Fig.  48. 


Fig.  49. 


Both  Hands  Horizontal  Lateral  Prone. 

(Fig.  49.) 

Extension    combined    with     Superposition;    hence, 
Diffusion,  Desolation. 

Ex.— I.  O'er  all  the  peaceful  world  the  smile  of  heaven  shall  lie. 

2.  Spread  wide  around  the  heaven  breathing  calm. 

3.  Gold  sowed  the  world  with  every  ill. 

4.  Horror  wide  extends 
His  desolate  domain. 


112 


MANUAL  OF  GESTUBE. 


Both  Hands  Ascending  Front  Prone. 

(Fig.  50.) 

I.  Sacred  Ascription,  or  Attribution. 

Ex. — Thou  art  clothed  with  light  as  with  a  garment. 

II.  Sacred  Deprecation. 

Ex. — Withhold  thy  merited  wrath. 


Fig  50. 


Fig.  51. 


Both  Hands  Ascending  Oblique  Prone. 

(Fig.  51.) 

I.  Superposition,  etc. 

Ex. — I.  Hung  be  the  heavens  with  black. 

2.  Save  me  and  hover  over  me  with  your  wings, 
b.  h.  a.  o.  b.  h.  a.  o.  p. 

Ye  heavenly  guards  ! 

II.  Sacred  Ascription. 

Ex. — Glory  and  honor  and  might  and  dominion  and  tower  be  unto 
Him  that  sitteth  upon  the  throne. 

III.  Sacred  or  Sublime  Deprecation. 

Ex. — Ye  gods,  restrain  your  wrath. 


BOTH   HANDS   PRONE. 


113 


Both  Hands  Ascending  Lateral  Prone. 

(Fig.  53.) 


Elevation  or  Sublimity, 
and  Extension  or  Expan- 
sion, combined  with  Super- 
position. 

Ex. — I.  And  let  the  triple  rainbow 
rest  o'kr  all  the  moun- 
tain TOPS. 

-  2.  The  floor  of  Heaven  BK- 

STREWN     WITH     GOLDEN 
STARS. 


Fig.  52. 


CHAPTER  VIII. 


THE  VERTICAL  HAND. 


Fig.  53. 

While  the  prone  hand  puts  down,  the  vertical  drives 
away.  The  former  makes  the  repressive  gesture,  the 
latter  the  repellant.  Owing  to  the  impracticability  of 
using  the  vertical  hand  in  the  descending  lines,  such 
gestures  are  excluded  from  this  system.  We  therefore 
commence  with  the  horizontal. 


Right  Hand  Horizontal  Front  Vertical 

(Fig.  54.) 

Repulsion. 

Example. — Back  to  thy  punishment,  false  fugitive  J 


THE  VERTICAL  HAND. 


115 


Right  Hand  Horizontal  Oblique  Vertical. 

(Fig.  55.) 

Aversion,  General  Repulsion. 

Ex.-    I.  He  generously  extended  the  arm  of  power  to  ward  off  the  blow. 

2.  Drive  back  the  bold  invaders  ! 

3.  The  face  of  the  Lord  is  against  them  that  do  evil. 

4.  Murder  rcvosifottl,  as  in  the  best  it  is  ; 

r.  h.d.o.p.  r.  h.d.o.  s. 

But  this  MOST  FOUL,  strange  and  unnatural. 
r.  h.  h.o.  V.  r.  h.  d.  o.  p. 


Fig.  54. 


Fig,  65, 


Fig.  m. 


Right  Hand  Horizontal  Lateral  Vertical. 

(Fig.  56.) 

Removal,  Repulsion,  Aversion. 

In  intense  aversion  the  face  should  be  turned  away 
from  the  object. 

Ex. — I.  Thou  tempting  fiend,  avaunt  ! 
2.  I  REPEL  the  base  insinuation. 
6 


116 


MANUAL  OF  GESTURE. 


3.  I  hate  and  ABHOR  lying,  but  Thy  law  do  I  love. 

h.l.v.  b.  h.  h.  f.  s. 

4.  Hence,  Jealousy  ;  thou  fatal  lying  fiend, 
Thou  false  seducer  of  our  hearts,  begone  ! 

5.  O,  that  way  MADNESS  lies  ;  let  me  shun  that ; 

no  MORE  of  that. 

While  the  notation  of  this  last  example  indicates  a 
repetition  of  the  gesture  upon  certain  words,  it  should 
be  observed  that  language  of  this  kind  admits  of  a  suc- 
cession of  nervous  repetitions,  without  reference  to  the 
emphatic  words.  Impatience  frequently  manifests  itself 
in  this  manner. 


Right  Hand  Horizontal  Oblique  Backwards  Vertical. 

(Fig.  57.) 

I.  Removal,     Retrogression,    etc. 
Usually  associated  with  Remoteness. 

Ex. — I.  We  BANISH  you  our  territories. 

2.  When  driven  by  oppression  s  rod, 
h.  1.  V. 

Our  fathers  fled  beyond  the  sea. 

h  o.  b.  V. 

II.  Repulsion,  specially  Abhorrent 
Repulsion. 

Ex. — I.  When  mine  enemies  are  turned  back, 

h.  o.  b.  V. 

they  shall  fall  and  perish  at  thy  presence, 
d.  o.  b.  p. 

2.  Get  thee  behind  me,  Satan  ! 


Fig.  57. 


Right  Hand  Ascending  Front  Vertical. 

'Fig.  sS.^ 

Sacred  Depreca  iai. 

Ex. — Avert  Thy  sore  disijleasure. 


THE  VERTICAL   HAND. 


117 


Right  Hand  Ascending  Oblique  Vertical. 

(Fig.  59.) 

Sacred  or  Sublime  Deprecation. 

Ex. — Forbid  it,  Heaven. 

It  will  be  observed  that  this  language  is  impersonal ; 
hence  it  prefers  the  oblique  to  the  front. 


Fig.  58. 


Fig.  59. 


Fig.  60. 


Right  Hand  Ascending  Lateral  Vertical. 

(Fig.  60.) 

Aversion,  Repulsion,  or  Removal,  etc.,  combined  with 
Elevation. 

Ex. — I.  Away,  delusive  phantom  ! 

2.  Fly  HENCE,  ye  idle  brood  of  folly  ! 

3.  The  strong  arm  of  the  mighty  Conqueror  repelled  the  Prince 

of  the  Power  of  the  air. 

4.  The  silent  hour  steals  on, 

slow  prep. 

And  flaky  darkness  breaks  within  the  east. 


118 


MANUAL  OF  GESTURE. 


Right  Hand  Ascending  Oblique  Backwards  Vertical. 

(Fig.  6i.) 

Repulsion  and  Elevation,  Abhorrent  Repulsion. 

Ex. — Hence,  horrible  shadow  ! 
Unreal  mockery,  hence  ! 


Fig.  61. 


Fig.  62. 


Fig.  63. 


Both  Hands  Horizontal  Front  Vertical 

(Figs.  62,  63.) 

I.  Forcible  Repulsion. 

Ex. — I.  The  torrent  roar'd,  and  we  did  buffet  it 
b.h.h.o.s.  b.h.  h.f.V. 

With  LUSTY  sinews  ;  throwing  it  aside, 

rep.  b.h.h.o.v. 

And  STEMMING  it  with  hearts  of  controversy, 
b.h.  h.f.V. 
2.  Thou  impious  mocker,  HENCE  ! 

II.  This  gesture,  in  common  with  the  corresponding 
oblique  (b.  h.  h.  o.  v.)  is  the  natural  expression  of  Fear 
and  Terror.    The  hands  are  first  drawn  near  to  the  face, 


THE  VERTICAL  HAND. 


119 


and  then  thrust  forcibly  towards  the  object,  while  the 
body  starts  back.     See  fig.  63. 

Ex. — Whence  and  what  art  thou,  execrable  shape  ! 


Both  Hands  Horizontal  Oblique  Vertical 

(Fig.  64.) 


General  Repulsion,  Fear,  etc. 

Ex. — I.  Far  from  our  hearts  be  so  inhuman  a 
feeling. 

2.  Repel  the  base  invaders. 


Fig.  64. 


Fig.  65. 


Fig.  66. 


120 


MAlSrUAL   OF  GESTUEE. 


Both  Hands  Horizontal  Lateral  Vertical. 

(Fig.  66.) 

Expansion,  Disruption,  Dispersion. 

In  emphatic  or  impassioned  discourse  the  hands,  in 
preparation  for  this  gesture,  may  sometimes  cross  the 
breast,  as  in  fig.  65.  In  general,  however,  the  ordinary 
preparation  Avill  suffice.  When  the  hands  cross  the 
body,  as  shown  in  the  cut,  they  should  not  be  allowed 
to  rest  in  this  position,  but  should  pass  and  repass  each 
other  more  or  less  rapidly,  according  to  the  force  and 
rapidity  of  the  accompanying  utterance. 

Ex. — I.  The  gate  of  Death  in  sunder  breaks  ! 
2.  And  if  the  night 

Have  gathered  aught  of  evil  or  concealed, 
Disperse  it,  as  now  light  dispels  the  dark. 

Both  Hands  Ascending  Front  Vertical. 

(Fig.  67.) 

Earnest  Sacred  Deprecation. 

Ex. — Avert,  O  God,  the  frown  of  Thine  indignation. 


Fig.  67. 


Fig.  68. 


THE  VERTICAL  HAND. 


121 


Both  Hands  Ascending  Oblique  Vertical. 

(Fig.  68.) 

I.  Deprecation  combined  with  Elevation  or  Sublimity. 

Ex. — Let  me  not  NAME  it  to  you,  ye  chaste  stars, 

II.  Fear,  Terror,  etc. 

Ex. — I.  How  DREADFUL  is  this  place  ! 

2.  Angels  and  ministers  of  grace,  defend  us! 

3.  Alarmed,  afraid, 

I  see  the  flashes  of  Thy  lightning  wild  ! 


Both  Hands  Ascending  Lateral  Vertical. 

(Fig.  69.) 

Elevation  and  Expansion 
combined,  Dispersion,  Disrup- 
tion. 

The  hands,  in  preparation  for 
this  gesture,  sometimes  cross  the 
body  as  in  fig.  65. 

Ex. —  I.  The  mists  of  morning  are  dis- 
persed by  the  rising  sun. 

2.  Melt    and    dispel,    ye     spectre 

doubts. 

3.  lU  Rsrs  the  wild  cry  of  terror  and 

dismay  ! 

Fig.  69. 


CHAPTER  IX. 


SPECIAL  GESTURES. 

In  addition  to  the  systematic  gestures  described  in 
the  preceding  chapters,  we  have  what  may  be  called 
Special  Gestures.  These  are  so  numerous  as  to  pre- 
clude an  exhaustive  enumeration.  The  following  are 
the  most  important  ; 


Fig.  70. 


Right  Hand  Uplifted  Vertical. 

(Fig.  70.) 

The  vertical  hand  is  here  presented 
with  the  palm  nearly  facing  the  left 
of  the  speaker,  instead  of  being  out- 
ward as  those  in  Chapter  VIII.  The 
position  of  the  hand  and  arm  at  the 
terminus  of  this  gesture  is  similar  to 
the  ordinary  preparation  (compare 
figs.  6  and  70).  By  virtue  of  its 
peculiar  signification,  however,  this 
constitutes  a  distinct  gesture.  It 
should  be  specially  observed  that 
here  the  hand  is  brought  up  to  the 
terminal  jDoint  witliout  any  prepara- 
tory action,  Avhile  in  the  systematic 


SPECIAL  GESTURES.  123 

gestures,  and  some  others,  it  is  brought  down  to  the 
point  indicated  in  tlie  notation,  having  been  previously 
raised  higher  in  preparation.  The  hand  is  raised  with 
the  palm  downward,  until  it  nearly  reaches  the  destined 
point,  when  there  is  an  additional  turn  of  the  wrist- 
joint,  which  finishes  the  gesture  by  throwing  the  hand 
into  the  vertical  position.  The  freedom  of  the  wrist  in 
the  execution  of  this  last  movement  gives  additional 
effect. 

Fig.  70  shows  the  uplifted  hand  as  brought  up  on  the 
front  line  to  the  position  ascending  front.  It  may  take 
the  front  or  oblique,  according  to  the  sentiment.  The 
front  implies  more  elevation,  and  the  oblique  more 
expansion.  Sacredness  and  solemnity  generally  prefer 
the  front,  sublimity  the  oblique.  In  moderate  expres- 
sion the  hand  may  be  arrested  at  the  horizontal  line, 
thus  giving  four  gestures  under  this  head ;  ascending 
front,  ascending  oblique,  horizontal  front,  horizontal 
oblique. 

The  uplifted  hand  has  the  following  significations : 
I.  Adjuration,  Oath,  Solemn  Declaration. 
Examples.— I.  I  adjure  thee,  by  the  living  God,  that  thou  come 

r.  h.  upl.a.  f,  V. 
out  of  her. 
r.  h.d.f.s. 

2.  I  SWEAR  I  will  not  see  it  lost! 
r.  h.  upl.  a.  f.  V.  d.  f. 

3.  I  have  sworn  an  oath,  that  I  will  have  my  bond. 

r.h.  upl.a.  f.v.  r.h.d,  f.  cli. 

4.  By  all  my  hopes,  most  falsely  doth  he  lie  ! 

r.  h.  upl.  a.  f.  V.  r.  h.  d.  f.  cH. 

5.  Rouse,  ye  Romans !   rouse,  ye  slaves  I     Once  again  I 

b.  h,  h.o.  b,  h.d.o. 

SWEAR  the  Eternal  City  shall  he  free, 
r.  h.  upl.  a.  f.  V.  d.  f. 

6* 


124  MANUAL  OF   GESTURE. 

6.  Blessed  is  the  man  whose  transgression  is  forgiven. 
r.  h.  upl.  a.  o.  V.  d.  o. 

II.  The  uplifted  hand  serves  to  Arrest  Attention,  as 
in  the  exclamations,  Hark  !  See  1  and  the  like.  It  also 
accompanies  an  Arousing  Call  or  Command,  and  is  used 
in  Exclamations  generally. 

Ex. — I.  Hark  to  the  joyous  strain  ! 

2.  Ho  !  sound  the  tocsin  from  the  tower, 
r.  h.  upl.  a.  o.  V.      r.  h.a.  o.  ind. 

3.  Quick  !  man  the  life-boat ! 

r.  h.  upl.  a.  o.  V.  r.  h.h.o.  ind. 

4.  How  MISERABLE  is  man  when  the  foot  of  the  conqueror  is  on  his 

r.  h.  upl.  a.  o.  V.  d.  o.  ind. 

neck, 

What  black  despair,  what  horror  fills  his  heart ! 
r.  h.  upl.  h.  o.  V.       r.  h.  upl.  a.  o.  v. 

In  arresting  attention,  when  the  emotion  is  sudden 
and  vivid,  the  index  finger  may  take  the  place  of  the 
open  hand.  In  this  case  the  hand  is  suddenly  raised, 
the  finger  pointing  to  the  hearer,  the  eye  at  the  same 
instant  turning  in  the  direction  of  the  sound. 

Ex. — Hark  !  heard  ye  not  that  piercing  cry  ? 

III.  Arrested  Preparation.  The  uplifted  hand  may, 
either  by  accident  or  design,  become  the  preparation 
for  a  gesture. 

Ex. — I.  How  great  the  love  that  Him  inclined  to  bleed  and^/V  for  me! 
r.  h.  upl.  a.  o.  d.o. 

2.  As  I  LIVE,  saith  the  Lord,  I  have  no  pleasure  in  the  death  of  the 
r.  h.  upl.  a.  f.  d.  f. 

wicked. 

In  these  examples  the  hand  is  raised  in  exclamation 
and  in  solemn  affirmation,  the  sustained  gesture  serving, 
incidentally,  as  an  arrested  preparation,  until  the  hand 
is  brought  down  upon  the  emphatic  word.  See  also 
the  examples  under  Adjuration,  etc. 


SPECIAL  GESTURES. 


125 


Both  Hands  Uplifted  Vertical. 

(Fig.  71.) 

This  also  takes  the  front  and  the  oblique,  ascending 
or  horizontal  according  to  the  sentiment.  Fig.  71 
exhibits  the  ascending  oblique ;  the  palms  nearly  face 
each  other. 

I.  Serious,  Earnest,  Sublime  and  Sacred  Aspira- 
tions; Awe,  Wonder,  Surprise,  Admiration,  Pity,  Horror, 
etc.,  when  moderate,  employ  this 
style  of  gesture  in  the  horizontal  line ; 
when  extreme,  they  use  the  ascend- 
ing. Profound  Reverence,  Adoration, 
Blessing,  and  other  forms  of  sacred 
or  solemn  address,  also  employ  the 
uplifted  hands. 

Ex. —  I.    O  THAT  THIS  LOVELY  VALE  WERE  MINE.' 
b.  h.  upl.  h.  o.  V. 

2.  How  BEAUTIFUL  is  all  this  visible  world ! 

b.  h.  upl.  h.o.  V. 

3.  In  winter  AWFUL  Thou  ! 

b.  h.  upl.  a.  o.  V. 

4.  Great  God,  how  infinite  Thou  art ! 

b.  h.  upl.  a.  f.  V.  • 

5.  Great  and  marvelous  are  Thy  works. 

b.  h.  upl.  a.  o.  V. 


Fig.  71, 


In  profound  reverence  and  awe  the  hands  are  raised 
very  slowly,  and  for  a  considerable  time  held  motion- 
less ;  the  eyes,  at  the  same  time,  are  upraised,  the 
whole  posture  harmonizing  with  the  general  character 
of  the  discourse. 

6.  O  HOW  BEAUTIFUL  is  this  midnight  scene  ! 
b.  h.  upl.  a.  o.  V. 


126  MANUAL   OF   GESTURE. 

7.  Scene  sublime  !  ^ 

b.  h,  upl.  a.  o.  V. 

Where  the  rich  earth  presents  her  golden  treasure. 

b.  h.h.o.  s. 

8.  The  floods  have  lifted  up  their  voice. 

b.  h.  upl.  a.  o.  V. 

9.  O,  HORRIBLE  !  horrible  !  most  horrible  ! 

b.  h.  upl.  a.  o.  V. 

ID.  Holy,  Holy,  Holy,  Lord  God  of  Sabaoth  ! 

11.  Blessed  be  Thy  name,  O  Lord  most  high. 

b.  h.  upl.  a.  f.  V. 

12.  Blessed  are  all  they  that  put  their  trust  in  Him. 
^  b.  h.  upl.  a.  o.  V.  b.  h.  a.  f.  s. 

13.  Heaven  and  earth  will  witness, 

b.  h.  upl.  a.  o.  V. 

If  Rcyne  must  fall,  we  are  innocent. 
b.  h.h.o.  b.  h.d.o. 

It  will  be  observed  that  the  same  notation  is  given 
for  sentiments  entirely  different  from  each  other,  as 
surprise  and  pity,  admiration  and  horror.  These  appar- 
ent incongruities  will  be  adjusted  by  the  various  modes 
of  execution,  as  quick  or  slow,  and  the  accompanying 
variations  in  voice,  attitude  and  facial  expression. 

II.  Benediction,  especially  when  brief.  The  horizontal 
elevation  is  sufficient. 

Ex. — Heaven  grant  you  success.    > 

In  more  full  and  solemn  benediction,  the  regular 
gesture,  b.  h.  h.  o.  p.,  or  the  uplifted  prone,  is  preferable. 

III.  An  Arousing  Call  or  Summons  is  accompanied 
by  an  upward  sweep  of  the  hands,  corresponding  with 
the  present  gesture. 

Ex. — Rise  !  or  Greece  for  ever  falls  I 
b.  h.  upl.  b.  h.d.o. 

Up  !  or  freedom  breathes  her  last ! 
b.  h.  upl.  b.  h.d.o. 


SPECIAL  GESTURES. 


127 


Both  Hands  Uplifted  Vertical,  Palms  Outward. 


(Fig.  72.) 


Here  also  the  hands  are 
elevated  more  or  less,  accord- 
ing to  the  degree  of  emotion. 
Fig.  72  shows  the  gesture  in 
its  most  expressive  form.  Fig. 
64  will  serve  to  illustrate  the 
same  gesture  in  the  horizon- 
tal elevation,  supposing  the 
hands  to  be  thus  raised  with- 
out any  preparatory  move- 
ment. In  common  with  the 
uplifted  vertical,  this  is  the 
natural  language  of  Surprise, 
and  usually  takes  precedence 
when  surprise  deepens  into 
astonishment.  Also  employed 
in  exclamations  of  Rapture. 


Fig.  72. 


Ex. — I.  *'  Land  !  Land  !"  cry  the  sailors. 

2.  With  sudden  start  the  miser  wakes. 

3.  Then  ope's  his  chest,  with  treasure  stored, 

b.h.d.f. 

And  stands  in  rapture  o'er  his  hoard, 
b.  h.  upl.  a.  o.  V.  out. 

The  corresponding  gesture  with  one  hand  is  often 
used  to  express  a  moderate  degree  of  surprise  or  fear. 
See  right  hand  in  fig.  80. 


128 


MAKUAL  OF  GESTURE. 


Fig.  73. 


Both  Hands  Uplifted  Supine. 

(Fig.  73.) 

I.  This  is  employed  to  des- 
cribe the  act  of  lifting  up ; 
being  opposite  in  effect  to 
putting  down  with  the  prone 
hand. 

Ex. — With  the  lever  of  prayer  resting 

on  the  fulcrum  of  faith,  we  can 

move  the  world,  and  LIFT  IT 
b.  h.  h.l.        b.  h.upl.s. 

UP  TO  God. 

II.  Admiration,  when  it 
arises  from  some  extraordi- 
nary or  unexpected  circum- 
stance, expresses  itself  in  this 
manner.  The  hands  are  then 
thrown  up  suddenly,  the  face 
and  eyes  being  upraised  at 
the  same  time. 


Ex.- 


Rapturous  sight  ! 


Fresh  bursts  the  New  World  from  the  darkness  of  night ! 
b.  h.h.o. 

O  VISIONS  OF  GLORY  !  how  dazzling  it  seems  ! 
b.  h.  upl.  s. 

Right  Hand  Uplifted  Prone. 

The  hand  is  raised  with  the  palm  downward,  retain- 
ing the  prone  position  throughout,  the  arm,  wrist  and 
hand  being  moved  as  one.  The  degree  of  elevation 
varies  with  the  sentiment. 

Wonder,  Surprise,  Pity,  etc.,  in  a  moderate  degree, 
are  sometimes  expressed  in  this  manner ;  the  action 
being  less  than  in  the  vertical,  since  it  lacks  the  addi' 


SPECIAL   GESTtJEES. 


129 


tional  wrist  movement.     Regret  is  indicated  by  feel^l}' 
raising  and  dropping  the  hand. 
Fx.— I.  Alas  !  poor  Ycrick  ! 

raise.  drop. 

2.  Ah  Eloquence  !  thou  wast  undone. 

raise.  drop. 

Both  Hands  Uplifted  Prone. 

This  may  follow  either  the  front  or  the  oblique  line,  and 
be  elevated  to  the  horizontal  or  to  the  ascending  plane. 

I.  Appropriate  in  Benediction  and  other  forms  of 
Solemn  Discourse.  When  the  hands  are  raised  slowly, 
the  effect  is  more  solemn  than  in  the  regular  prone  gest- 
ure as  applied  to  benediction,  etc. 

Ex. — [.\postolic  benediction.] 

II.  The  feeble  raising  and  dropping  of  both  hands 
sometimes  occurs  in  the  expression  of  grief. 

Ex. — Farewell  !  a  long  farewell  to  all  my  greatness, 
raise.  drop. 

Both  Hands  Supine  Parallel. 


(Figs.  74,  75,  76.) 


Fig.  74. 


Fig.  75. 


Fig.  76. 


130 


MAKUAL  OF   GESTUltE. 


This  may  be  made  in  any  of  the  following  directions : 
Descending  oblique,  to  the  right  or  left.     (Fig.  74.) 
Descending  lateral, 
Horizontal  oblique, 

Horizontal  lateral,  '-         "  "        (Fig.  75.) 

Ascending  oblique,         '"•         "  ''        (Fig.  70.) 

Ascending  lateral. 

These  are  sometimes  employed  in  impassioned  refer- 
ence, or  any  reference  to  the  right  or  left  of  the  speaker, 
where  one  hand  is  inadequate  to  the  full  expression, 
and  needs  to  be  supplemented  by  the  other  hand. 

Ex. — I.  Take  her  up  tenderly, 

b.  h.  d.  o.  s.  par. 

Lift  her  with  care, 

b.  h.  h.  o.s.  par. 

2.  There  lies  he  !  go  and  look  ! 

b.  h.d.l.  s.par.  rep. 

3.  Death's  chain  is  on  your  champion. 

b.  h.d.  1.  s.  par. 

4.  These  are  the  homes  of  peaceful  industry. 

b.  h.  h.  1.  s.  par. 

5.  Higher,  higher  let  us  climb  up  the  steep  of  knowledge. 

b.  h.  a.  o.par, 

6.  I  dare  him  to  his  proofs  ! 

b.  h.  h.  o.  par. 

7.  Cannon  to  right  of  them, 

b.  h.  h.l.  par.  (rieht) 

Cannon  to  left  of  them, 
b.  h.  h.  1.  par.  (left) 

This  style  of  gesture  is  also  admissible  in  the  direction 
oblique  backwards. 

Ex. — Cannon  behind  theni. 

The  supine  hands  accompanied  with  an  attitude 
of  courage  and  manliness,  is  preferable  to  the  vertical 
hands,  which  some  would  employ,  in  order  to  express 
the  emotion  of  terror  at  beholding  this  dreadful  charge. 
The  orator  should  possess  himself  of  the  courage  of 


SPECIAl.  GESTUEES. 


131 


"  the  noble  six  hundred,"  rather  than  to  act  the  part  of 
a  terrified  witness  of  the  scene. 


Both  Hands  Prone  Parallel 

(Fig.  77.) 

In  these  the  arms  assume  the  same 
relative  positions,  and  move  in  the 
same  directions,  as  in  the  parallel 
supine  just  described ;  the  only  dif- 
ference being  in  the  position  of  the 
hands.  Fig.  77  represents  the  hori- 
zontal oblique.  They  are  similar  in 
application,  with  the  additional  power 
of  expressing  superposition  and  re- 
pressive emotions. 

Ex. — The  Lord  hath  laid  on  him  the  iniquity  of 
us  all.  ^-  ^-  ^-  °-  P-  P"- 

Both  Hands  Vertical  Parallel. 

(Figs.  78,  79.) 


Fig.  77. 


Fig.  78. 


Fig.  79. 


132 


MAKUAL  OF  GESTURE. 


These  correspond  with  the  preceding,  except  the 
position  of  the  hands,  and  their  being  limited  to  the 
horizontal  and  the  ascending  lines.  Employed  in 
Forcible  Repulsion,  in  circumstances  where  both  hands 
are  required  at  either  side  of  the  speaker.  Fig.  T8 
shows  this  gesture  in  the  horizontal  oblique,  and  79  in 
the  horizontal  lateral. 

Ex. — Hence,  hideous  spectre. 

b.  h.  h.  o.  V.  par. 

The  student  may  apply  this  style  of  action  to  many  of 
the  examples  given  under  the  regular  vertical  gestures, 
selecting  the  more  impassioned  sentences. 

These  three  forms  of  parallel  gestures — supine,  prone 
and  vertical — are  analogous  to  what  Austin  terms  prin- 
cipal and  subordinate  gestures ;  though  they  differ' 
essentially  from  them  in  that  both  hands  are  here  kept 
on  the  same  plane,  whereas  Austin  would  have  the 
principal  gesture  elevated  one  position  higher  than  the 
subordinate,  as  when  the  left  hand  is 
in  the  direction  descending  oblique, 
and  the  right  in  the  horizontal  lateral. 
While  no  objection  is  here  made  to 
the  style  of  action  just  mentioned,  so 
far  as  the  subordinate  gesture  is  en- 
tirely involuntary — a  faint  echo,  as  it 
were,  of  the  principal — as,for  instance, 
in  fig.  80,  such  gestures  are  purposely 
omitted  from  this  treatise.  Although 
admissible  in  some  cases,  they  need 
not  be  made  prominent  in  a  system 
of  rhetorical  action. 
Fig.  80. 


SPECIAL  GBSTIJRES. 


133 


Index  Finger. 

(Figs.  8i,  82,  83.) 


Fig.  81. 


Fig.  82. 


Fig.  83. 


I.  The  index  finger,  pointing  in  any  direction  suited 
to  the  occasion,  is  employed  in  Indication,  from  which 
it  receives  its  name,  in  Special  Designation,  Specific 
Reference,  Close  Discrimination,  Precision,  Emphatic 
Designation,  etc.,  serving  not  only  to  point  out  particu- 
lar persons  and  objects,  but,  analogically,  to  call  atten- 
tion to  particular  ideas.  The  open  hand  in  its  outward 
sweep,  is  used  to  extend  the  thought ;  the  index  finger, 
to  limit  it.  Compare  the  notation  of  the  two  following 
sentences : 

1.  Let  us  survey  the  entire  field. 

r,  h.h.l.s. 

2.  Let  us  closely  observe  this  point. 

h.f.  ind. 

The  following  miscellaneous  examples  will  illustrate 


134  MANUAL  OF  GESTURE. 

the  use  of  the  index  finger,  according  to  the  applica- 
tions given  above : 

1.  The  full-orbed  moon  has  reached  no  higher 

Than  yon  old  CHURCH'S  mossy  spire, 
h.  o.  ind. 

2.  Mark  yonder  pomp  of  costly  fashion 

h.l.ind. 

3.  In  yonder  grave  a  Druid  lies. 

h.  1.  ind.  sus. 

4.  Her  fancy  followed  him  through  foaming  waves. 
To  distant  SHORES.  h.l.s. 

h.l.ind. 

5.  Hush  !  Hark  to  that  sound  stealing  faint  through  the  wood, 
h.  o.  p.     h.  l.ind. 

Huiih  is  always  authoritative,  and  employs  the  repres- 
sive gesture  ;  harh  is  the  call  for  attention,  and  is  merely 
earnest. 

6.  But  LOOK,  the  morn  in  russet  mantle  clad, 

a.  f.  ind. 

Walks  o'er  the  dew  of  yonder  eastern  hill. 

7.  See  yon  nsmg  SUN. 

h.  f.  ind. 

8.  See  yon  setting  sun. 

h.  o.  b.  ind. 

9.  See  on  yon  darkening  heights  bold  Franklin  tread. 

a.  1.  ind. 

10.  The  puissant  Michael  vanquished  Apollyon  upon  the  summit  of 

the  everlasting  hills.  a.o.b.ind. 

imp. 

11.  He  led  the  tyrant  Death  in  chains. 

d.o.  ind. 

12.  He  pierces  through  the  realms  of  light. 

a.  o.  ind. 

13.  Flashes  of  lightning  played  around  the  distant  horizon.  (Fig.83.) 

h.Lind. 

14.  Sin  may  gratify,  but  repentance  stings. 

h.  o.  s.  h.  o.  ind. 

15.  The  keen  eye  of  the  statesman  penetrated  the  future. 

h.  f.  ind. 

16.  For  proof  of  my  assertion,   I  point  you  back  to  days  of  the 

prophets. 
h.o.  b.  ind. 


SPECIAL   GESTURES. 


17.  I  've  touched  the  highest  point  of  all  my  greatness. 

a.  f.  ind, 

18.  A  spirit  of  evil  flashing  down, 

d.  l.ind. 

With  the  lurid  light  of  a  fiery  crown. 

19.  A  mere  air-drawn  dagger  of  the  fancy. 

a.  l.ind. 

20.  Hope,  like  the  glim'ring  taper's  light, 
a.  f.  ind. 

Adorns  and  cheers  the  way. 
a.  o.  s. 

21.  So  Faith  and  Hope  the  self-same  objects  spy. 

a.  f.  ind. 

22.  Beyottd  is  all  abyss, 

a.  f.  p. 
Eternity,  whose  end  no  eye  can  reach, 
a.  f.  ind. 

23.  And  Nathan  said  to  David,  thou  art  the  man. 

h.  f.  ind. 

24.  Clarence  has  come  !  false  !  fleetingJ  perjured  Clarence  ! 

h.  f.  ind.  rep.  rep.  rep. 

25.  O  that  men's  ears  should  be 

To  counsel  deaf,  but  not  to  flattery. 
h.o.  ind.  h.Lind. 

26.  See,  how  he  sets  his  countenance  for  deceit. 

h.  o. ind. 
And  promises  a  lie  before  he  speaks. 
rep. 

27.  Guards,  seize 

h.  f.  p. 

This  traitor,  and  convey  him  to  the  tower, 
There  let  him  learn  obedience.        h. l.ind. 
rep. 

28.  Read  thy  doom  in  the  flowers  which  fade  and  die. 

d.  o. ind. 

29.  O,  cursed  lust  o{  gold  I  when  for  thy  sake 

b  h.d.o. 
The  wretch  throws  up  his  interest  in  both  worlds ; 

b.h.d.l. 
First  hanged  in  this,  then  DAMN'd  in  that  to  come, 
h.o. ind.  d.o.  ind. 

30.  There 's  the  marble,  there  's  the  chisel  ; 

h.o.  ind.  d.o.  ind.  •> 

Take  them,  work  them  at  thy  ivill ; 
h.  f.  s.  rep. 


186  MANUAL  OF   GESTURE. 


Thou  ALONE  must  shape  thy  future, — 
h.f.ind. 
Heaven  give  thee  strength  and  skill. 
r.  h.  upl.  d.  o.  s. 

31.  He  dares  not  touch  a  hair  of  Cataline. 

h.  o.  ind. 

32.  Mark  the  perfect  man. 

h. o. ind. 

33.  This  is  the  point  to  which  I  call  your  special  ATTENTION, 
h.f.ind.  rep. 

34.  If  this  measure  be  adopted —  mark  my  word  —  our  country  will 

h^  ruined  ^■^•^-       ^■^•'"^• 

d.  f.  s. 

35.  We  hsiVG  promised,  but  recollect,  under  certain  restrictions. 

d.o.  s.  h,  o.  ind.  rep. 

36.  Let  the  thought  be  deeply  engraved  upon  your  heart,   that 

h.  f.  ind. 
every  moment  which  flies,  is  irrecoverably  lost. 
rep.  rep. 

II.  The  index  finger  is  used   in  Reproach,    Scorn, 
Contempt,  Derision,  etc.     The  hand  is  then  inverted, 
as  in  fig.  82.    In  earnest  and  serious  discoure,  it  is  side- 
wise,  as  in  fig.  81. 
Ex. — I.  Thou  slave! 

h.f.ind. 

2.  Yon  trembling  coward,  who  forsook  his  master. 

h.  o.  b.  ind. 

3.  There  were  FALSE  prophets  among  the  people. 

h.  I.  ind. 

4.  Vipers  !  that  creep  where  man  disdains  to  climb. 

d.  1.  ind.  d.  1.  p. 

5.  Behold  the  traitor  ! 

h.o.  ind. 

6.  Thou  crawling  WORM  ! 

d.o.  ind. 

7.  One  murder  makes  a  villain, 
h.f.ind.  h.  1.  ind. 

Millions  a  hero. 
b.  h.  h.  o.       a.  o.  s. 

8.  Some  sky-ward  flight  of  superstition. 

a.  1.  ind. 

9.  The  perpetrator  of  so  base  an  act  merits  only  the  finger  of 

scorn. 
b.l,iad. 


SPECIAL   GESTURES.  137 

III.  Cautioning, Warning,  Threatening,  AutLoiitative 
Prohibition  or  Prohibitory  Warning. 

The  index  finger  thus  employed  is  more  forcible  and 
defiant  than  the  open  hand. 

In  warning  and  threatening  there  may  be  an  accom- 
panying tremor  of  the  finger. 

Ex. — I.  Timely  advised^  the  coming  evil  shun. 
h.o.  s.  h.o.  ind. 

2.  Let  every  man  take  heed  how  he  buildeth  ihereiipon. 

h.  o.ind. 

3.  Lay  not  that  flattering  unction  to  your  soul. 

h.f.ind. 

4.  Bitterly  shall  you  rue  your  folly. 

h.  f.  ind. 

5.  If  thou  speakest  false, 

h.f.ind. 
Upon  the  next  tree  shalt  thou  hang  alive, 

h.  o. ind.  rep. 

Till  FAMINE  cling  thee, 
rep. 

6.  Lay  not  your  hand  upon  the  constitution. 

h.  f.  ind. 

In  mild  expression  generally,  and  in  emphatic  dis- 
course sometimes,  prohibition  prefers  the  prone  hand. 

7.  LocHiEL  !  Lochiel !  beware  of  the  day 

h.  f.  ind.  rep. 

When  the  Lowlands  shall  meet  thee  in  battle  array  ! 
rep. 

8.  Take  fast  hold  of  instruction  ;  let  her  not  go  ;  keep  her,  for 

h.  f.  ind.  rep.      rep. 

she  is  thy  life. 
d.  f.  ind. 

Note. — The  gesture  upon  life  is  made  in  the  descending  line  for  special  emphasis, 
and  for  consummation.  To  regard  it  as  a  gesture  of  designation  in  the  sense  of  sug- 
gesting locality,  would,  of  course,  render  the  action  entirely  inappropriate.  Unjust 
criticism  based  upon  such  misinterpretation,  however,  is  likely  to  grow  out  of  a  super- 
ficial knowledge  of  the  subject. 

9.  Look  not  thou  upon  the  wink,  when  it  is  kkd,  when  it  giveth  his 

h.  f.  ind.  rep. 

COLOR  in  the  cup,  when  it  .moveth  itself  aright.     At  the  last 
rep.  h.o.  s. 

it  biteth  like  a  serpent  and  stingeth  like  an  adder. 
d. o.ind.  d.  Kind. 


138 


MANUAL   OF   GESTURE. 


IV.  Special  Emphasis,  Emphatic  Assertion  or  Em- 
phatic Distinction. 

When  thus  used  with  energy  the  index  finger  is  more 
emphatic  than  the  open  hand.  In  emphatic  assertion  it 
is  generally  confined  to  the  descending  lines,  but  when 
it  serves  the  double  purpose  of  special  designation  and 
special  emphasis — emphatic  designation — it  may,  as 
before  stated,  take  any  direction. 

Examples  of  Special  Emphasis  : 

1.  I  repeat  it,  sir,  I  will  never  submit. 

d.  f.  ind. 

2.  The  truth  of  this  whole  statement  I  do  most  emphatically  DENY. 

h.f.  ind.  d.  f.  ind. 

3.  The  tyrannous  and  bloody  act  is  done. 

d.  f.  ind. 

In  this  use  of  the  index  finger  the  gesture  must  be 
forcibly  executed,  or  the  effect  will  be  different  from 
what  is  here  intended :  there  will  be  danger  of  nullify- 
ing the  action  by  running  the  gesture  into  one  of  desig- 
nation, when  there  is  no  special  object  pointed  out. 

Right  Hand  Uplifted,  Fore-Arm  Vertical,  and  Index  Finger 
Pointing  Vertical. 

(Fig.  84.) 

The  peculiar  character  of  this  gesture 
distinguishes  it  from  the  pointing  ges- 
tures just  described.  It  is  used  in  Cau- 
tioning, Solemn  Warning,  and  Threaten- 
ing. 

In  Rogers'  description  of  Genevra's 
picture  we  have  it  illustrated  : 

"  She  sits  inclining  forward  as  to  speak, 
Her  lips  half  open,  and  her  finger  up, 
As  though  she  said,  '  Beware  ! '  " 

This  mode  of  expression  is  specially 
•p       Q^A  appropriate  in  sacred  discourse. 


SPECIAL   GESTURES. 


139 


Ex. — I.  Stand  in  awe  and  sin  not, 

sus. 
2.  Vengeance  is  Mine  ;  I  will  repay,  saith  the  Lord. 

sus. 


Clinched  Hand. 

(Fig.  85.) 

I.  Used  in  any  line  for  Ex- 
treme Emphasis,  Vehement 
Declaration,  Fierce  Determina- 
tion, Desperate  Resolve.  Often 
used  in  very  emphatic  assertion. 

We  have  three  degrees  of 
emphasis:    the  open  hand,  the  ^^^'  ^^' 

index  finger,  the  clinched  hand ;  which  may  be  de- 
nominated respectively  Emphasis,  Special  Emphasis, 
and  Extreme  Emphasis. 

Ex.  —  I.  Treason  has  done  his  worst. 
d.  f.  di. 

2.  Let  us  do  or  die. 

d.  f.  cli. 

3.  And  when  we  have  resisted  to  the  lasf,  we  will  starve  in  the 

r.  h.d.o.s.  d.f.cli. 

wastes  of  the  glaciers.    Ay,  men,  women  and  children,  we  will 

b.  h.h.o. 
all  be  frozen  into  annihilation  together  ere  one  free  Switzer 

b.  h.  d.o.  cli. 
will  acknowledge  a  foreign  master. 
r.  h.  h.  o.  cli. 

4.  I  '11  have  my  bond  :  I  will  not  hear  thee  speak  ; 

r.h.  d.f.cli.  r.h.d.l.  p. 

I  '11  have  my  bond,  and  therefore  speak  no  more. 
r.h.  d.f.cli.  r.h.d.l.  p. 

The  following  example  presents  in  their  order  the 
three  degrees  of  emphasis  above  referred  to  ; 

To  such  usurpation  I  will  never  submit ;  I  repeat  it,  sir,  I  will 

d.f.s. 
never  submit;  I  will  die  first, 
d.  f.  ind.  d.  f,  cli. 

7 


140  MANUAL  OF   GESTURE. 

The  more  usual  method,  however,  in  such  cases,  is  to 
limit  the  action  to  one  of  these  forms — the  open  hand, 
the  index,  finger,  or  the  clinched  hand — and  effect  the 
climax  by  raising  the  hand  higher  and  bringing  it  down 
more  forcibly  with  each  successive  stroke. 

II.  The  clinched  hand  is  used  in  any  line  to  express 
Violent  Anger,  Threatening,  Defiance,  etc. 

Ex. — I.  Wo  to  the  hand  that  fails  to  rear, 
r.  h.  a.  f.  cli. 
At  this  dread  sign,  the  ready  spear. 

SUS. 

2.  As  a  Roman,  here  in  your  very  capital  I  defy  you. 

h.f.  ind.    h.f.  cli 

3.  Thy  threats,  thy  mercies  I  defy, 

h.  f.  cli. 

And  give  thee  in  thy  teeth  the  lie. 
h.f.  ind. 

4.  If  thou  but  FROWN  on  me,  or  stir  thy  FOOT, 

h.f.  cli.  rep. 

Or  teach  thy  hasty  spleen  to  do  me  shame, 

I  '11  strike  thee  dead.  ""^P- 

d.f.cli. 

In  more  moderate  discourse  the  idea  of  frowning 
might  be  expressed  with  the-  prone  hand ;  but  this 
would  be  inadequate  to  the  vehemence  of  the  present 
language. 

III.  Seizing,  Grasping,  etc. 

Ex. — Then,  starting  from  the  ground  once  more,  he  seized  the  monarch's 
rein,  «  *  *  a.  o  cli. 

And  with  a  fierce,  o'er-mastering  grasp,  the  rearing  war-horse  led. 

a.  o.  cli. 

Both  Hands  Clinched. 

This  is  admissible  in  Vehement  Declaration  and  highly 
Impassioned  Oratory. 

Ex. — I.  Rather  than  submit  to  such  usurpation,  I  would  suffer  a  thousand 
deaths.  b.h.  d.f.cli. 

2.  I  '11  fight,  till  from  my  bones  the  flesh  be  hack'd. 

b.  h.  d.  1.  cli. 


SPECIAL  GESTURES. 


141 


Hands  Applied. 

(Fig.  86.) 

The  palms  are  prebsed  together  as  shown  in  the  cut. 
Often  used  in  Adoration. 

Ex.— Holy,  holy,  holy  Lord  God  of  Sabaoth. 
b.  h.a.  f.  ap. .  sus. 


Fig.  86. 


Fig.  87. 


Hands  Clasped. 

(Fig.  87.) 

The  hands  are  raised  to  the  horizontal  oblique,  the 
palms  facing  each  other,  brought  together  and  clasped, 
then  drawn  up  to  the  chest,  from  Avhich  they  are  pro- 
jected outward — descending,  horizontal,  or  ascending — 
as  occasion  may  require.  In  following  this  direction 
there  need  be  no  appearance  of  measured  exactness ;  a 
fault  which  facility  of  execution  must  exclude  from  all 
gesture. 

The  clasped  hands  indicate  strong  emotion.  They 
are  appropriate  in  Supplication  and  Earnest  Entreaty. 
Also  the  language  of  Distress. 


142 


MANUAL  OF   GESTUllE. 


Ex. — I.  For  Heaven's  sake,  Hubert,  let  me  not  be  bound, 

b.  h.  h.  f.  cla.  sus. 

2.  O  Lord,  rebuke  me  not  in  Thy  wrath, 
b.  h.  a.  f.  cla. 

3.  O  !  my  son  Absalom  !  my  son,  my  son  Absalom  !     Would  God 

b.  h.  h.f.  cla.  rep.  b.  h.  a.  f.  cla. 

I  had  died  for  thee,  O  Absalom,  my  son,  my  sott. 
b.  h.  h.f.  cla.  rep.         b.  h.a.  f.  cla.  b.  h.  d.  f.  cla. 


Hands  Folded. 

(Fig.  88.) 


Fig.  88. 


The  fingers  of  the  right 
hand  are  laid  between  the 
thumb  and  fore-finger  of 
the  left,  the  right  thumb 
crossing  the  left. 

Expressive  of  Humility 
or  Self-Abasement,  and 
sometimes  employed  in 
Sacred  Address. 

Ex. — Behold,  I  am  vile  ! 


Hands  Crossed. 

(Fig.  89.) 


Fig.  89. 


SPECIAL  GESTURES.  143 

One  hand  is  placed  upon  the  breast,  and  the  other 
laid  upon  it.  The  eyes  are  at  the  same  time  slowly 
cast  down,  and  the  head  bowed  in  Humility  or  Venera- 
tion. 

Ex. — I  acknowledge  my  transgression. 

The  Hand  on  the  Heart. 

Reference  to  the  speaker's  own  feelings,  and  Imper- 
sonation as  well,  lays  the  hand  on  the  heart.  Powerful 
emotion  presses  it  hard  ;  fierce  passion  clinches  it.  In 
generous  and  genial  emotions  the  fingers  should  be 
spread  apart ;  in  subdued  emotions  they  are  kept  close 
together. 

Ex. — I.  I  feel  within  me 

A  PEACE  above  all  earthly  dignities, 
A  still  and  quiet  conscience. 

2.  Let  my  heart  be  still  a  moment  and  this  mystery  explore. 

3.  I  speak  from  the  fulness  of  my  heart. 

4.  Thou  hast  given  to  that  poor,  gentle,  timid  shepherd  lad,  muscles 

of  iron  and  a  heart  of  flint.  ^-  ^-  ^-  ^- ''" 

r.  h  on  heart  cli. 

Both  hands  are  sometimes  placed  on  the  heart,  one 
covering  the  other. 

Ex. — What  is  this  absorbs  me  quite  ; 
b.  h.  upl. 

Steals  my  senses,  shuts  my  sight 
b.  h.a.  o  p.  b.  h.  h.  \.  p. 

Drowns  my  spirit  ? 

b.  h.on  heart. 

As  a  rule,  the  speaker  in  referring  to  the  hearts  of 
others,  should  not  employ  this  gesture.  In  the  follow- 
ing example,  for  instance, 

They  hushed  their  very  hearts,  that  saw  its  horror  and  amaze. 

The  horizontal  oblique  prone  is  the  most  appropriate 
gesture. 


144  MANUAL  OF   GESTURE. 


The  Left  Hand. 

The  gestures  assigned  to  the  right  hand  may  also  be 
executed  with  the  left,  but  only  when  absolutely  neces- 
sary. As  a  rule,  when  one  hand  is  employed  singly, 
the  preference  should  be  given  to  the  right.  In  refer- 
ring to  persons  or  objects  at  the  left  of  the  speaker,  the 
left  hand  may  be  used.  It  should  be  remembered, 
however,  that  as  an  instrument  of  gesture,  it  is  inferior, 
subordinate  and  occasional.  Manly  force  prefers  the 
right  hand,  which  is,  normally,  the  expressive  hand ; 
the  left  being  a  peculiarity  and  specialty.  |  Its  chief  use 
is  to  accompany  the  right  in  expansion  and  warmth. 
To  be  constantly  alternating  between  the  right  and 
left  hand  is  a  serious  fault  of  gesture.  There  is,  indeed, 
no  necessity  for  it.  In  referring  to  the  points  of  com- 
pass, the  public  speaker  is  not  bound  to  give  the  exact 
directions.  Upon  this  point,  Austin  says,  "  Avoid  here 
literal  and  mechanical  exactness."  The  contrast  is  all 
that  can  be  required,  and  even  in  this  he  need  not  be 
punctilious.  When  a  series  of  objects  is  presented, 
sufficient  variety  may  be  given  by  simply  changing  the 
lines  of  gesture ;  as  when  one  member  of  the  series  is 
assigned  to  the  line  in  front,  a  second  to  the  oblique,  a 
third  to  the  lateral,  and,  it  may  be,  a  fourth  to  the 
oblique  backwards ;  and  this  upon  the  descending,  the 
horizontal,  or  the  ascending  plane.  These  divisions 
and  subdivisions  furnish  the  most  ample  scope  for 
enumeration,  classification  and  description.  Observe 
the  following  notation : 

Ex. — I,  They  shall  come  from  the  east,  and  from  the  WEST, 
prftu  r.  h.  h.  1. 


SPECIAL  GESTUBES.  145 

Or, 

They  shall  come  from  the  east,  and  from  the  west. 
prep.  b.  h.  h.  1. 

Or,  to  be  more  specific : 

They  shall  come  from  the  east  and  from  the  7i<est. 
r.  h.  h.  f.  r.h.h.o.b. 

2.  He  shall  have  dominion,  also,  from  sea  to  SEA,  and  from  the 
prep.  r-  h.  h.  1. 

river  to  the  ENDS  OF  the  earth. 
prep.  b.  h.  h.  1. 

3.  Fear  not,  for  I  am  with  thee  ;  I  will  bring  thy  seed  from  the 

r.  h.  h.  1.  r.  h.h.o. 

east,  and  gather  thee  from  the  west ;  I  will  say  to  the  ttorth 

r.  h.h.l.  b.  h.  h.  1.  par.  left.  r.  h.  h.  f. 

give  up;  and    to   the  south,  keep  not  back ;  bring  my  sons 

rep.  r.h.h.o.b.  r.  h.d.o.b. 

from  far,  and  my  daughters  from  the  ends  of  the  earth  ;  even 

r.  h.h.l.  r.h.h.o.b. 

every  one  that  is  called  by  my  name, 
b.h.h.l. 

4.  Whatsoever  thy  hand  findeth  to  do,  do  it  with  \hy  might;  for  there 

h.o.  d.o. 

is  no  work,  nor  device,  nor  knowledge,  nor  wisdom  in  \}^t  grave 
h.f.  d.o.  d.l.  d.  o.  b.  rep. 

whither  thou  goest. 

t;.  If  men  of  eminence  are  exposed  to  censure  on  the  one  hand, 

h.  f. 

they  are  as  much  liable  to  flattery  on  the  other, 
h.l. 

Even  in  the  last  example  the  expression  as  notated  is 
sufficiently  definite.  When  more  exactness  is  required, 
however,  the  left  hand  may  be  used  singly ;  a  practice 
never  allowed  by  ancient  orators,  doubtless  owing  to 
the  necessity  of  holding  upon  the  left  hand  the  folds  of 
the  toga,  a  cumbi'ous  robe  they  were  accustomed  to 
wear. 


CHAPTER  X. 


CONCLUSION. 

Transition  of  Gesture. 

In  giving  the  elements  of  the  subject  it  has  been 
found  most  convenient  to  consider  the  hand  at  rest  just 
previous  to  the  execution  of  a  given  gesture ;  but  in 
actual  practice  there  are  frequent  transitions  combining 
several  different  motions  into  a  single  period  of  gesture, 
as  in  the  following  notation  : 

No  fearing,  7to  doubting  thy  soldier  shall  know, 
prep.  h.  1.  sus. 

When  here  stands  his  country,  diXid  yonder  her  foe; 
prep.       h.  f.  sus,       prep.         h.  1.  ind.      sus. 

One  look  at  the  bright  sun,  one  prayer  to  the  sky, 
prep.  a.  f.  prep.  b.  h.  a.  o. 

One  glance  where  our  <5fl!««^r  waves  glorious  on  high  ; 
prep.  a.  f.  ind. 

Then  on,  as  the  young  lion  bounds  on  his  prey, 
prep.  b.  h.  h.  f.  sus. 

Let  the  sword  flash  on  high,  fling  the  scabbard  away ; 
prep.  a.  o.  ind.  d.l. 

Roll  on,  like  the  ihtmderbolt  over  the  plain  ! 
b.h.  h.  f.  rep.  sus. 

We  come  back  in  glory,  or  we  come  not  again, 
prep.  b.  h.  a.  1.       prep.  b.  h.  d.  o. 

See  illustrations  on  pages  258,  259,  260. 

It  will  be  observed  here  that  the  right  hand  does  not 
fall  to  rest  until  the  whole  stanza  is  completed.  Nor 
does  it  take  the  shortest  line  from  one  gesture  to 
another,  but  first  makes  a  new  preparation,  by  being 


COKCLITSIOK.  14T 

brought  to  a  higher  point,  or  a  point  nearer  the  body, 
from  which  it  proceeds  to  the  next  position  indicated 
in  the  notation.  This  new  preparation  may  carry  the 
hand  to  the  head,  or  to  a  lower  point ;  it  may  consist 
in  a  simple  movement  of  the  wrist. 

The  dotted  line  in  fig.  90  corresponds  with  the  line 
of  preparation  shown  in  fig.  6 ;  the  shorter  curves  are 
a  series  of  preparations  as  applied  to  three  successive 
gestures — d.  o.,  h.  o.,  and  a.  o. — in  which  the  hand  fol- 
lows a  line  which  successively  returns  upon  itself. 


Fig.  90. 

In  fig.  91  the  same  principle  is  applied  in  the  trans- 
verse direction.  Observe  that  these  lines,  like  those  in 
fig.  90,  are  traced  by  one  who  faces  the  reader ;  hence 
they  appear  reversed.  The  lines  will  vary  with  the 
energy  of  the  discourse.  In  tranquil  delivery,  the  hand 
may  pass  from  gesture  to  gesture  by  a  simple  curve, 
like  that  shown  in  the  first  diagram,  fig.  91.  The  letters 
f.  o.  1.  ob.  represent  the  different  terminations — front, 
oblique,  lateral,  and  oblique  backwards.  The  second 
diagram  in  the  same  figure  shows  a  more  graceful 
transition,  in  which  the  hand  moves  in  double  curves, 
similar  to  Hogarth's  line  of  beauty.  Such  motions  are 
7* 


148  MANUAL   OF   GESTURE. 

adapted  to  a  more  elaborate  oratorical  style.  The  acute 
angles  at  the  point  of  contact  between  the  preparatory 
and  executionary  movements,  as  shown  in  the  last 
diagram,  are  the  result  of  more  emphatic  expression. 

In  making  the  transition  from  one  hand  to  both,  the 
left  hand  should  be  brought  up  from  the  place  of  rest 
simultaneously  with  the  new  preparatory  movement 
performed  by  the  right.  In  like  manner,  the  transition 
from  both  hands  to  one  is  made  by  dropping  the  left 
hand  at  the  same  instant  the  right  moves  in  prep- 
aration for  the  next  gesture.  To  illustrate,  suppose  the 
right  hand  to  be  at  the  point  h.  L,  and  the  left  at  rest 
(fig.  16),  the  gesture  next  required  is  b.  h.  h.  1.  (fig.  27). 
This  transition  is  made  by  bringing  the  right  hand  from 
h.  1.  towards  the  head,  and  simultaneously  raising  the 
left  to  a  corresponding  elevation,  as  for  instance,  in  fig. 
71,  fi'om  which  both  hands  are  carried  outward  to  the 
lateral  line.  Now  suppose  the  next  gesture  to  be 
r.  h.  a.  f.  (fig.  18),  the  right  hand  is  brought  from  h.l. 
towards  the  head  while  the  left  is  falling  to  rest. 

The  Place  of  Gesture. 

While  it  is  obvious  that  the  gesture  occurs  upon  the 
emphatic  word,  it  is  well  to  consider  its  place  with  refer- 
ence to  the  subject  and  predicate. 

I.  The  gesture  usually  occurs  upon  the  predicate, 
the  subject  taking  the  preparation. 

Ex. — I.  Our  aim  is  happiness. 
h.o. 
2.  The  quality  of  mercy  is  NOT  strained. 

h.  1. 

II.  The  subject  takes  the  gesture  when  it  is  more 
important  than  the  predicate. 


CONCLUSION.  149 


Ex. — The  ENTIRE  RESOURCES  OF  THE  GOVERNMENT  were  brought  into 
b.h.h.l. 
requisition. 

III.  When  the  subject  and  predicate  are  sufficiently 
important,  a  gesture  may  occur  upon  each. 

Ex. — The  voice  of  the  living  speaker  makes  an  impression  on  the  mind 
h.  o, 
much  STRONGER  than  can  be  made  by  the  perusal  of  any  writing. 
d.  o.  rep. 

IV.  Of  two  or  more  subjects  or  predicates,  the  gesture 
generally  falls  upon  the  last.  ^ 

Ex. — Truth,  honor  justice,  were  his  motives, 
h.o. 

V.  A  gesture  may  be  made  upon  each  of  several  sub- 
jects or  predicates  when  they  are  sufficiently  important, 
or  when  accompanied  by  strong  qualifying  words. 

Ex. — The  cloud-capt  towers,  the  gorgeous  palaces, 
b.  h.  a.  f.  b.  h.  a.  o. 

The  solemn  temples,  the  great  globe  itself, 

b.  h.  upl.  a.  o.  b.  h.h.L 

Yea,  all  which  it  INHABIT  shall  dissolve, 
imp.  b.  h.d.  1.  p. 

And  like  this  insubstantial  pageant  faded, 
r.  h.h.L  p. 

Leave  not  a  wreck  behind, 
drop. 

It  is  sometimes  advantageous,  instead  of  a  gesture 
upon  each  member  of  a  series — words,  clauses  or  sen- 
tences— to  alternate  between  them,  assigning  the  prep- 
aration to  the  intervening  members. 

Ex. — I.  To  ARMS  !  they  come  !  the  Greek  !  the  Greek  ! 

b.  h.h.f.  b.h.h.l.  par.  prep.  b.h.h.l.  par. 

2.  The  battle,  sir,  is  not  to  the  strong  alone  ;  it  is  to  the  vigilent, 

the  active,  the  brave.  ^-  '■  ^-  °- 

prep.  d.o. 

3.  Now   if  any  man    build   upon    this  foundation     GOLD,    silver, 

d.  f.        prep. 

PRECIOUS   stones,   WOOD,  hay,  STUBBLE,  every  man's  work 

d.  o.  d.  1.      prep.       d.  o.  b.        prep, 

shall  be  made  manifest, 
d.o. 


150  MANUAL  OF   GESTURE. 

With  respect  to  the  grammatical  construction,  the 
gesture  most  frequently  occurs  either  upon  the  substan- 
tive or  the  verb,  or  else  upon  the  adjective  belonging 
to  the  former,  or  the  adverb  modifying  the  latter. 
Ex. — I.  Adversity  is  the  school  of  piety. 

h.  o.  d.  o. 

2.  The  true  spirit  of  religion  cheers  as  well  as  composes  the  soul. 

h.  o.  d.  o. 

3.  Exercise  and  temperance  strengthen  even  an  indifferent  con- 

stitution. ^-  °- 

4.  To  love  WISELY,  rationally  and  prudently,  is,  in  the  opinion 

prep.  h.f.  prep.  h.  o. 

of  lovers,  not  to  love  at  all. 
d.  o. 

The  gesture  often  occurs  upon  the  pronoun. 

Ex. — Whom  say  ye  that  I  am  ? 
h.  o. 

Sometimes  upon  the  interjection. 

Ex. — These  were  delightful  days,  but  alas  !  they  are  no  more, 
h.  o.  r.  h.  upL  drop. 

Climax. 

Corresponding  with  the  rhetorical  climax,  we  have 
climax  in  gesture.  By  the  law  of  force,  gesture  goes 
progressively  inward  and  downward ;  by  the  law  of 
feeling  and  expansion,  progressively  outward  and  up- 
ward. The  orator  should  obey  the  law  of  climax  in 
gesture,  as  well  as  in  composition  and  voice.  Indeed, 
these  are  but  the  constituent  parts  of  the  unity  of  effect, 
and  should,  therefore,  harmonize  with  each  other,  as 
well  as  with  the  general  character  of  the  discourse  and 
the  circumstances  of  delivery. 

In  accordance  with  the  law  of  climax,  the  elocutionist 
will  economize  voice  and  action,  as  the  rhetorician 
economizes  words.     As  the  one  reserves  his  strongest 


CONCLUSION.  151 

terms  for  the  most  important  ideas,  so  will  the  other 
reserve  his  most  forcible  tones  and  gestures  for  the 
most  emphatic  assertions. 

The  following  examples  will  serve  to  illustrate,  in 
this  connection,  the  principles  which  should  govern  in 
the  choice  of  gesture  : 

Climax  of  Force, 

Ex. — I.  I  will  noiy  must  not,  dare  not  grant  your  wish, 
r.h.d.l.      r.h.d.o.      r.  h.  d.  f. 

2.  These  abominable  principles,  and  this  more  abominable  avowal 

r.  h.  h.  o.  r.  h.d.  o. 

of  them,  demand  the  most  decisive  indignation. 

r.  h.  d.  f. 

3.  I  have  very  little  regard  iov  the  assertion  of  my  opponent ;  it  is 

r.  h.  h.  1. 
•w'xihowi  foundation  ;  it  is  false  ;  utterly  (ahe. 
r.h.d.l.  r.h.d.o.     r.  h.  d.  f. 

4.  They  are  all  gone  out  of  the  way ;  they  are  together  become 

r,  h.  h.  1. 

unprofitable  ;  there  is  none  that  doeth  good  ;  no,  not  one. 
r.h.d.l.  r.h.d.o.  r.h.d.f. 

Ex'pan^ion, 

5.  For  the  truth  of  this  assertion,  I  appeal  to  you,  Mr.  Chairman  ; 

r.  h.  h.  f. 
I  appeal  to  this  audience  ;  yea,  to  the  whole  world. 
b.h.h.o.  b.h.  h.l. 

6.  Vanity  of  vanities,  saith  the  preacher,  vanity  of  vanities ;  all  is 

^^,,ity^     r.h.d.l.  b.h.d.o.    b.h.d.l. 

To  use  but  one  hand  upon  the  last  clause  of  this 
passage,  after  having  used  both  hands  in  the  preceding 
clause,  would  make  an  anti-climax,  and  weaken  the 
effect  of  the  action. 

7.  lVa7>e,  Munich  !  all  thy  banners  wave, 
r.h.h.l.  b.h,  h.l. 

8.  Declare  His  glory  among  the  heathen,  His  wonders  among  all 

thepeopU,  \>.\^.V.o.  b.h.  h.l. 


T52  MANUAL   OF   GESTURE. 

9.  Jehovah  reigns ;  His  throne  is  high; 
r.  h.  a.  f.  r.  h.  a.  o. 

His  robes  are  light  and  majesty. 
b.h.  a.l. 

10.  He  telleth  the  number  of  the    stars ;  He  calleth  them  all  by 

their  names.  r.  h.  a.  1. 

b.h.  a.l. 

11.  Great  is  our  Lord,  and  of  great  power ;  His  understanding  is 
b.  h.a.  f.  b.h.a.  o. 

infinite. 
b.  h.a.  1. 

12.  Be  glad  in  the  Lord,  and  rejoice^  ye  righteous  ;  and  shout  for  joy, 

b.  h.a.  f.      b.  h.  a.  o.  b.  h.  a,  1. 

all  ye  that  are  upright  in  heart. 

Elevation. 

13.  Brief,  brave  and  g/orious  was  his  young  career, 
r.h.d.f.     r.h.h.f  r.  h.  a.  o. 

14.  According  to  the  eternal   rules  of  celestial  precedency,  Virtue 

takes  place  of  at/  things.     It  is  the  nobility  of  Ange/s/     It  is 
b.  h.  d.  o.  b.  h.  a.  o. 

the  majesty  of  God / 
b.  h.  a.  f. 

The  Rhetoric  of  Gesture, 

Attention  has  already  been  called  to  the  correspond- 
ence between  gesture  and  rhetoric.  The  climax  and 
the  rhetorical  pause  have  been  noticed.  Gesture  is  also 
governed  by  the  rhetorical  figure. 

Ex. — Thou  art  clothed  with  tight  as  with  a  garment, 
b.  h.  a.  f.  p. 

The  prone  hands  are  here  preferred,  as  being  suggest- 
ive of  apparel.  "  Thou  dwellest  in  light,"  would  be 
expressed  with  the  supine  hands.  So  closely  allied  are 
the  two  arts — construction  and  delivery — that  the  style 
of  rhetoric  must  govern  the  gesture  generally.  Imper- 
ative and  vivid  styles  demand  frequent  and  forcible 
action,  and  vice  versa.  Indeed,  the  rhetoric  of  gesture 
should  be  carefully  attended  to.     As  a  rule,  gestures 


CONCLUSION.  153 

should  be  connected  and  harmonious.  Appropriate  and 
graceful  action  does  not  consist  in  isolated  movements ; 
the  hand  must  not  be  allowed  to  drop  after  each  em- 
phatic word.  On  the  contrary,  the  different  movements 
should  sustain  such  a  relation  to  each  other  as  to  pro- 
duce a  good  effect  on  the  whole.  Harmony  and  unity 
are  essential  elements  of  grace.  Familiarity  with  this 
branch  of  the  subject  will  lead  to  the  arrangement  of 
sentences  with  reference  to  the  best  effect  in  rhetorical 
delivery. 

Gesture  Modified  by  Circumstances. 

The  style  of  gesture  to  be  adopted  in  a  given  case 
must  be  determined  by  the  predominant  idea,  or  the 
effect  desired.     If,  in  the  following  passage, 

I  hate  and  abhor  lying, 

the  speaker  wishes  simply  to  make  an  emphatic 
assertion,  he  will  use  the  descending  oblique  ;  if  he 
would  indicate  the  class  to  which  the  object  of  his 
hatred  belongs,  he  will  employthe  descending  lateral — 
the  gesture  of  debasement ;  if,  however,  the  feeling  of 
abhorrence  be  such  as  to  call  for  a  gesture  of  intense 
aversion,  the  descending  oblique  backwards  prone  would 
be  appropriate.  Take  the  same  example  in  connection 
with  its  context : 

1  hate  and  abhor  lying  ;  but  Thy  law  do  I  love. 
rh.h.l.  V.  b.h.h.f. 

The  contrast  here  presented  is  better  expressed  with 
still  another  style  of  gesture,  as  shown  in  the  notation. 
The  idea  which  the  hand  expresses  in  this  case  is  the 
putting  away  of  one  thing  and  the  choosing  of  another 
in  its  stead. 


154  MANUAL  OF   GESTURE. 

In  the  last  line  of  Bernardo  del  Carpio, 

His  banner  led  the  spears  no  more  amid  the  hills  of  Spain, 

one  might  wish  to  indicate,  with  the  pointing  finger,  the 
location  of  the  hills  of  Spain,  or  treat  the  sentence  as 
an  unemphatic  negation,  and  employ  the  horizontal 
lateral,  or  he  might  prefer  to  use  the  gesture  of  ces- 
sation— descending  lateral — to  express  the  termination 
of  the  young  Avarrior's  career. 
Take  the  following  couplet: 

And  will  you  rend  our  ancient  love  asunder, 

b.  h.  h.  o.  s. 
To  join  with  men  in  scorning  your  poor  friend? 
b.  h. d.  o.s. 

In  choosing  the  gesture  for  this  passage,  the  idea  of 
earnest  interrogation  must  predominate  over  that  of  dis- 
ruption in  the  first  line,  and  aversion  in  the  second. 
Hence,  instead  of  b.  h.  h.  1.  v.,  and  r.  h.  d.  1.  p.,  we  have 
the  notation  given  above. 

Compare  the  following  examples : 

1.  Bursts  the  wild  cry  of  terror  and  dismay, 
b.  h.  a.  1.  V, 

2.  See  through  this  air,  this  ocean,  and  this  earth. 

All  matter  quick  and  bursting  into  birth, 
b.h.h.l.s. 

In  the  first  example  the  prevailing  idea  is  that  of  dis- 
ruption ;  in  the  second  it  is  that  of  birth :  and  these 
must  govern  respectively  the  character  of  the  gestures, 
wh:.ch,  although  occurring  upon  like  words,  differ 
essentially  in  form  and  signification. 

As  the  language  of  appeal,  the  following  sentence 
would  require  the  horizontal  oblique : 

Shall  we  now  contaminate  our  fingers  with  base  bribes? 

But  the  force  and  depth  of  the  emotion  of  contempt 


CONCLUSION.  155 

absorbs  the  idea  of  a})peal,  and  expresses  itself  with  the 
descending  lateral — both  hands. 

Victory  and  triumph  usually  find  their  appropriate 
expression  in  the  ascending  gestures ;  and  yet,  in  the 
following  couplet : 

The  saints  in  all  this  glorious  war 

Shall  conquer  though  they  die, 
a.  o.  rep. 

the  emphatic  character  of  the  language  carries  the  hand 
to  the  descending  line. 

The  elevation  and  expansion  of  feeling  which  consti- 
tute the  emotion  of  joy,  generally  call  for  the  ascending 
lateral ;  but  the  following  sentence  : 

A  thing  of  beauty  is  a  joy  forever, 

may  be  simply  treated  as  the  presentation  of  a  general 
thought,  and  use  the  horizontal  oblique.  Observe  here 
the  distinction  between  the  subjective  and  the  objective 
— the  inward  excitement  of  an  emotion,  and  the  mere 
talking  about  it.  In  oblique  discourse,  however,  the 
speaker  often  assumes  an  emotion  or  passion.  Notice 
also  the  following : 

Give  every  man  thine  ear  ;  but  few  thy  voice. 

b.  h.h.  o.  r.  h.h.o.  ind. 

Take  each  man's  censure ;  but  reserve  ihy  Judgment. 
b.h.d.o.  r.  h.h.o.  ind. 

If  this  were  regarded  as  purely  didactic,  the  supine 
hand  would  be  retained  throughout;  but  the  shrewd 
caution  of  Polonius  makes  the  gesture  of  mere  instruc- 
tion give  place  to  that  of  warning — index  finger. 

The  orator  needs  carefully  to  guard  against  the  viola- 
tion of  the  principle  just  stated,  never  sacrificing  the 
greater  for  the  less,  but  always  adopting  that  style  of 


166  MANUAL  OF   GESTURE. 

action  which  is  most  effective ;  for  instance,  at  the 
moment  when  he  wishes  to  carry  his  point  by  forcible 
argumentation,  he  must  not  allow  himself  to  sacrifice 
emphasis  for  any  minor  effect,  as  when  he  steps  aside 
to  indulge  in  some  descriptive  action.  There  are  times 
when  he  cannot  afford  a  descriptive  gesture ;  as  there 
are  emergencies  in  which  the  military  commander  may 
not  stop  to  admire  the  beauties  of  the  natural  scenery 
which  chance  to  lie  in  his  pathway,  but,  with  impetuous 
speed,  must  hasten  forward  to  combat  the  enemy. 

A  gesture  is  sometimes  modified  by  its  relation  to 
other  gestures,  or  by  the  combined  effect  of  the  action. 
In  the  passage. 

The  Lord  bringeth  the  counsel  of  the  heathen  to   nought ;  He 

maketh  the  devices  of  the  people  of  none  effect. 

d.  1. 

The  first  clause,  taken  independently,  and  with  mode- 
rate emphasis,  would  employ  the  descending  lateral  to 
express  nonentity  ;  but  since  another  clause  of  similar 
import  is  added,  the  oblique  is  appropriated  to  the  first, 
in  order  to  reserve  the  lateral  for  the  second. 
In  the  following  appeal. 

For  the  truth  of  this  assertion,  I  appeal  to  these  gentlemen  before 

me,  to  every  one  in   this  vast  assembly,  yea  to  the  impartial 

b.  h.h.o. 
judgment  of  all  mankind. 
b.h.h.l. 

The  first  clause  taken  separately  would  use  b.  h.  h.  o. ; 
and  the  second,  either  by  itself,  or  in  connection  with 
the  first,  b.  h.  h.  1. ;  but  when  the  three  are  combined, 
by  the  law  of  rhetorical  climax  in  delivery  the  largest 
gesture  is  reserved  for  the  largest  idea. 

In  accordance  with  the  same  principle,  both  hands 


CONCLUSION.  157 

are  occasionally  employed  merely  to  preserve  the  har- 
mony of  the  action — the  preceding  or  the  following  idea 
requiring  the  use  of  both  hands.  This,  however,  is  by 
no  means  an  invariable  rule,  since  the  sudden  transition 
from  one  hand  to  both,  and  vice  versa,  is  not  only  admis- 
sible, but  is  often  very  effective.  Some  examples  of  this 
may  be  seen  in  the  pieces  marked  for  practice. 

The  gesture  should  accord  with  the  idea  taken  in  its 
full  extent.  Notice  the  second  gesture  in  the  notation 
of  the  following  passage  : 

With  a//  thy  getting,  get  understanding. 
b.  h.  h.o.  b.h.d.o. 

The  last  clause  standing  alone,  would  be  adequately 
expressed  with  one  hand,  but  taken  in  connection  with 
the  first,  the  idea  is  extended,  and  hence  requires  a 
larger  gesture.  This  also  preserves  the  harmony  of  the 
action,  the  first  clause  obviously  requiring  both  hands. 

Gesture  is  modified  by  individual  character.  What 
is  becoming  to  one,  may  not  be  so  to  another.  This 
remark  applies  to  the  frequency  and  variety,  and  to  the 
manner  of  execution.  Different  modes  of  thought  call 
for  different  modes  of  expression.  The  orator  who 
seldom  steps  beyond  the  bounds  of  calm  reasoning,  will 
confine  himself  chiefly  to  the  class  called  assertive  gest- 
ures, and  will  execute  these  with  moderation ;  while 
one  who  is  firm  in  his  convictions,  and  possesses  great 
strength  of  will,  naturally  lifts  the  hand  higher  and 
brings  it  down  more  forcibly  ;  and  one  possessing  a 
vivid  imagination,  will  abound  in  descriptive  gestures. 
Some  physical  organizations  are  more  favorable  to 
rhetorical  action  than  others ;  pliability  of  muscle  and 


158  MANUAL   OF   GESTURE. 

facility  of  motion  generally  will  enable  one  to  do  what 
would  be  quite  unbecoming  in  another  to  attempt.  Let 
every  one  adopt  that  style  of  action  which  is  best  suited 
to  his  own  mental  and  physical  organization,  subject 
always  to  the  general  laws  of  expression. 

The  Countenance. 

The  expression  of  the  countenance  is  intimately 
related  to  the  subject  of  gesture.  The  mere  motions 
of  the  hands  and  arms  without  the  appropriate  facial 
expression,  and,  indeed,  without  the  appropriate  attitude 
and  movement  of  the  whole  body,  would  result  in 
mechanical  delivery  void  of  grace  or  naturalness.  The 
face  is  a  powerful  auxiliary  to  the  oratorical  art.  "  By 
the  countenance,"  says  Quintilian,  "  every  feeling  is 
expressed.  Upon  the  countenance  the  hearers  depend, 
and  into  it  they  examine  before  the  speaker  opens  his 
lips." 

Says  Lloyd : 

"  The  strongest  passion  bolts  into  the  face." 

And  the  same  author  thus  describes  the  expression 
of  the  countenance : 

"  A  single  look  more  marks  the  internal  woe, 
Than  all  the  windings  of  the  lengthened  o — h ! 
Up  to  the  face  the  quick  sensation  flies, 
And  darts  its  meaning  from  the  speaking  eyes  ; 
Love,  transport,  madness,  anger,  scorn,  despair, 
And  all  the  passions,  all  the  soul  is  there." 

Lavater's  observations  upon  the  countenance  are 
valuable  to  the  student  of  oratory.  He  makes  the  fol- 
lowing distinction  between  physiognomy  and  pathog- 
nomy :  "  Physiognomy,"  he  says,  "  is  the  knowledge  of 


CONCLUSION.  159 

the  signs  of  the  powers  and  inclinations  of  men.  Path- 
ognomy  is  the  knowledge  of  the  signs  of  the  passions. 
Physiognomy,  therefore,  teaches  the  knowledge  of  the 
character  at  rest,  and  pathognomy,  of  the  character  in 
motion.  All  people  read  the  countenance  pathognomi- 
cally  (hence  the  expression  of  countenance  necessary 
to  the  orator),  few  indeed  read  it  physiognomically." 

It  is  not  the  design  of  the  present  work  to  embrace 
a  treatise  upon  facial  expression.  Some  directions 
regarding  the  eyes,  however,  are  indispensable  to  the 
study  of  gesture. 

Among  the  three  forms  of  visible  expression — feat- 
ures, attitude  and  gesture — the  eye  occupies  a  promi- 
nent position.  "  It  seems  to  share  every  emotion,  and 
to  belong  to  the  soul  more  than  any  other  feature." 
The  expressive  power  of  the  eye  is  wonderful.  The 
faculty — natural  or  acquired — of  seizing  an  audience,  so 
to  speak,  with  the  eye,  and  holding  them  in  a  visional 
grasp,  endows  the  orator  with  marvelous  power. 

As  a  rule,  the  eye  should  not  accompany  the  gesture, 
but  should  embrace  the  audience,  traversing  from  left 
to  right,  beginning  with  those  nearest  the  speaker,  and 
going  back  to  the  farthest  part  of  the  house. 

In  impassioned  poetry,  the  eye  frequently  accompanies 
the  gesture  ;  so  also  in  vivid  description. 

Apostrophic  address  turns  toward  its  object. 

In  special  designation  the  eye  may  for  an  instant 
glance  toward  the  object  pointed  out.  The  rule  in 
such  cases  is,  that  in  vivid  emotion  the  eye  should  pre- 
cede the  hand  ;  in  moderate  emotion  they  move  simul- 
taneouslv.     To  look   the    audience  in  the  face  while 


160  MANUAL  OF   GESTUKE. 

pointing  them  to  a  distant  object,  makes  the  truest  elo- 
quence. This,  however,  is  not  opposed  to  the  moment- 
ary glance  just  referred  to,  and  which  heightens  the 
effect. 

In  narrative  and  didactic  discourse,  as  well  as  in  all 
warm,  earnest  and  vivid  address,  the  eye,  for  the  most 
part,  ranges  over  the  audience. 

In  strong  resolve  or  fixed  purpose,  or  in  the  statement 
of  a  definite  proposition,  it  is  fixed. 

In  intense  emotion  of  a  grand,  solemn,  or  sublime 
character,  when  expressive  of  steadfastness,  the  eyes 
should  remain  fixed. 

In  profound  solemnity  and  awe,  they  are  upraised 
and  fixed. 

In  shame  or  grief,  they  are  downcast  or  averted. 

In  thought,  they  are  cast  on  vacancy. 

In  doubt  and  anxiety,  they  turn  in  various  directions. 

The  public  reader  should  occasionally  direct  his  eyes 
from  the  book  or  manuscript  to  the  audience. 


It  may  appear  to  some  that  so  much  attention  to  the 
details  of  gesture  as  is  recommended  in  this  treatise  is 
unnecessary  or  impracticable ;  that  it  will  hinder  the 
freedom  of  action,  or  interfere  with  the' fluency  of 
speech,  or  draw  the  mind  of  the  speaker  from  his  subject 
matter,  or  allure  him  from  the  main  purpose  of  his  dis- 
course, or  cause  the  hearer  to  observe  the  manner  more 
than  the  matter.  It  may  be  well  to  remind  those  who 
imagine  all  or  any  of  these  objections,  that  the  same 


CONCLUSION.  161 

attention  is  necessary  in  the  acquisition  of  every  other 
branch  pertaining  to  public  speaking ;  that  the  orator 
is  expected  to  frame  his  arguments  with  reference  to 
the  established  rules  of  logic,  arrange  his  thoughts 
according  to  the  laws  of  rhetoric,  construct  his  sentences 
with  due  regard  to  their  grammatical  government  and 
agreement,  give  to  ever}^  word  its  just  pronounciation, 
and  even  to  each  letter  its  proper  sound  and  full  value  ; 
and  that  all  these  details  are  attended  to  during  the 
most  rapid  utterance,  and  even  in  the  vehemence  of 
impassioned  delivery,  where  the  mind  is  entirely 
engrossed  with  the  subject  matter  of  the  discourse,  and 
the  whole  soul  absorbed  in  the  effort  to  accomplish  the 
main  purpose,  whether  it  be  to  instruct,  to  convince,  or 
to  persuade ;  and,  furthermore,  that  during  the  entire 
discourse  neither  speaker  nor  hearer  gives  a  moment's 
thought  to  the  rules  of  logic,  rlietoric,  or  grammar. 
And  why  should  not  the  rules  of  elocution,  including 
both  voice  and  gesture,  be  added  to  the  list,  and  ob- 
served in  the  same  manner  ? 


MISCELLANEOUS  EXAMPLES. 


I. 

I  've  seen  the  moon  climb  the  mountain's  brow, 

a.  o.  ind. 
I  've  watched  the  mists  o'er  the  river  stealing; 

h.  1.  p. 
But  ne'er  did  I  feel  in  my  breast  till  now, 

h.  on  heart. 
So  deep,  so  calm,  and  so  holy  a  feeling: 

rep.  rep,  a.  o. 

'T  is  soft  as  the  thrill  which  memory  throws 

Athwart  the  soul  in  the  hour  of  repose. 
h.l.p.  d.l. 


II. 


His  throne  is  on  the  mountain  top, 
a.  o.  ind.  rep. 

His  field  the  boundless  air, 
b.h.h.o.  b.h.h.L 

And  hoary  hills  that  proudly  prop 
b.  h.  a.  o. 
The  skies,  his  dwellings  are. 
b.  h.a.  1.  b.  h.a.  o. 


III. 

I  am  the  Rider  of  the  ivind, 
h.f. 
The  Stirrer  of  the  storm  ! 
a.  o. 
The  hurricane  I  left  behind 
h.  1. 
Is  yet  with  lightning  warm ; 
a.  1.  ind. 
8 


164  MANUAL  OF   GESTURE. 

To  speed  to  thee,  o'er  shore  and  sea, 
b.  h.h.  f.  b,  h.h.o. 

I  swept  upon  the  blast. 

b.  h.  a.  o.' 

IV. 

Fill  the  bright  goblet,  spread  the  festive  board : 
h.f.       h.l. 

Summon  the  gay,  the  noble  and  the  fair  ! 
b.  h.  h.  f.         prep.  b.  h.  h.l. 

V. 

0  !  sweet  and  beautiful  is  flight, 
b.  h.  upl.*  b.  h.  a.  o. 

When  the  silver  moon  is  high, 

a.  o.  ind. 
And  countless  stars  like  glittering  gems 

b.  h.  a.  o. 
Hang  sparkling  in  the  sky  ; 

rep. 
While  the  balmy  breath  of  the  summer  breeze 

b.h.h.f. 
Comes  whispering  down  the  glen ; 
b.  h.  d.  f. 
And  one  fond  voice  alone  is  heard, 
h.  o.  ind. 

0 1  night  is  lovely  then, 
b.  h.  upl.  b.  h.  h.  o. 

VI. 

Sullen,  methinks,  and  slow  the  morning  breaks, 

a.  1.  V. 
As  if  the  sun  were  listless  to  appear, 
rep. 

And  dark  designs  hang  heavy  on  the  day. 
^  b.  h.h.o.  p. 

VII. 

Night  wanes  —  the  vapors  round  the  mountains  curl'd 

h.  1.  p.  b.  h.a.  1.  p. 

Melt  into  morn,  and  light  awakes  the  world. 
b.  h.h.l.p.  b.h.a.l. 

How  sweet  and  soothing  is  this  hour  of  calm !    • 

b.  h.  upl.  a.  o.  b.  h.h.o.  p.  eyes  upl. 

*  Reference  to  the  uplifted  hand,  unless  otherwise  designated,  is  to  be  understood 
vertical,  as  on  pages  122,  125. 


MISCELLANEOUS   EXAMPLES.  166 


VIII. 

How  vain  are  all  hereditary  honors, 
h.l. 

Those  poor  possessions  from  another's  deeds, 

Unless  our  own  just  virtues  form  our  title, 

b.h.h.'o. 
And  give  a  sanction  to  our  fond  assumptions. 

b.h.d.o. 


IX. 


And  what  is  most  commended  at  this  time, 

b.h.h.o. 
Succeeding  ages  may  account  a  crime! 

b.h.d.o. 


The  soul,  of  origin  divine, 
a.  o. 
God's  glorious  image,  freed  from  clay, 

a.  f.  h.  1. 

In  heavens  eternal  sphere  shall  shine 

b.  h.a.  1. 

A  star  of  day  ! 
a.  o.  ind. 
The  sun  is  but  a  spark  of  fire, 
a.  f.  a.  1.  ind. 

A  transient  meteor  in  the  sky  ; 
a.  1. 
The  soul  immortal  as  its  sire, 
a.  o.  ind.  a.  f.  ind. 

Shall  never  die. 
d.o.  ind. 


XL 

The  stars    shall  fade  away,  the    sun   himself  grow   dim  with    age, 
b.  h.a. o.  V. 
and    nature   sink   in    years  ;   but  this  shall  flourish  in   immortal  youth, 

b.  h.  d.  1.  p.  a.  o. 

unhurt  amid  the  war  of  elements,  the  wreck  of  matter   and   the  crash 
b.  h.  a.  o.  b.  h.  h.  1. 

of  worlds. 


166  MANUAL   OF   GESTURE. 


XII. 

Are  you  an  actor  in  this  busy  scene,  or  are  you  an  idle  spectator i 
h.f.  h.l. 

XIII. 

War  !    War  !  —  aloud  with  general  voice  they  cry. 
b.  h.  h.  o.    rep.  b.  h.  h.  1. 

XIV. 

Thou  tremblest,  and  the  whiteness  in  thy  cheek 
h.  f.  p.  h.  f. 

Is  apter  than  thy  tongue  to  tell  thy  errand, 
rep. 

XV. 

Hence!  home!  you  idle  creatures,  get  you  home! 
h.  o.  V.     h.l.v.  h.o.  b,  V. 

XVI. 

Take  holy  earth,  all  that  my  soul  holds  dear. 
b.  h.  d.  f.  rep. 

XVII. 

The   Grave,  dread  thing! 

d.  f.  p.     a.  f.  V.  (eyes  upraised.) 
Men  shiver  when  thou  'rt  named  :  Nature  appalVd, 

b.h.  d.  o.  b.  h.  upl.  a.  o. 

Shakes  off  her  wonted  firmness.     Ah  !  how  dark 
,  b.  h.  d.l.  p.  b.h.  a.  o.  p. 

Thy  long-extended  realms,  and  rueful  wastes ! 

b.h.  h.l.  p.  b.h.d.  1.  p. 

Where  nought  but  silence  reigns,  and  night,  dark  night, 

b.  h.  upl.  a.  o.  b.h.  h.l.  p. 

Dark  as  was  Chaos,  ere  the  infant  Suit 

b.  h,  upl.  a.  o.  a.  f.  ind. 

Was  rolled  together,  or  had  tried  his  beams 

Athwart  the  gloom  profound.     The  sickly  taper, 
b.  h.  a.  f.  h.  f.  ind. 

By  glimm'ring  through  thy  low-brow'd  misty  vaults, 

b.  h.  d.  f. 

Furr'd  round  with  mouldy  damps,  and  ropy  slime, 
--- b.  h.d.l.  p. 

Lets  fall  a  supernumerary  horror, 
b.  h.upl.a.  o. 

And  only  serves  to  make  thy  night  more  irksome. 

b.  h.  h.o. p. 


MISCELLANEOUS   EXAMPLES.  167 


XVIIL 

I  could  a  tale  unfold,  whose  lightest  word 

h.  o.  ind. 
Would  harrow  up  thy  soul,  freeze  thy  blood, 
h.f.ind.  d.f. 

Make  thy  two  eyes,  like  stars,  start  from  their  spheres^ 

b.  h.  h.  1.  very  quick. 

Thy  knotted  and  combined  locks  to  pari, 

b.h.d.o. 

And  each  particular  hair  to  stand  on  end, 

h.  o.  ind.  rep. 

Like  quills  upon  the  fretful  porcupine. 
h.  1.  ind. 

XIX. 

The  temples  of  the  gods,  the  gods  themselves,  will  justify  the  cry, 
b.  h.  a.  o.  rep.  b.  h.  o..  o. 

and  swell  the  general  sound.  Revenue !  Revenge  !  Revenge ! 
b.  h.  h.  1.  .  d.  o.  cli.  prep.  rep. 

XX. 

We  've  sworn  by  our  country's  assaulters, 

h.  1.  cli. 
By  the  virgins  they  've  dragged  from  our  altars, 

b.  h.  d.  I.  par. 
By  our  massacred  patriots,  our  children  in  chains, 
b.  h.h.o.  b.h.d.o. 

By  our  heroes  of  old  and  their  blood  in  our  veins, 

h.  o.b.  b.h.d.o.  cli. 

That  living,  we  will  be  victorious, 

a.  o.  cli. 
Or  that  dying,  our  deaths  shall  be  glorious. 
b,  h.  d.f.  cli.  b.  h.  a.  o. 

XXI. 

The  physical  universe  may  be  regarded  as  exhibiting,  at  once,  all 
h.  o. 
its  splendid    varieties   of  events,  and    uniting,  as  it  were,  in    a  single 

b.  h.  a.  o.  b.h.h.f. 

moment,  the  wonders    of  eternity.      Combine,    by  your   imagination,  all 

rep.  b.  h.  a.  1.        b.  h.h.o.  rep. 

the  fairest  appearances  of  things.     Suppose  that  you  see,  at  once,  all  the 
b.  h.  h.  1.  b.  h.  h.  f. 

hours  of  the  day,  and  all  the  seasons  of  the  year ;  a  morning  of  spring 
b.  h.h.o.  b.h.h.l.  b.  h.h.o. 


168  MANUAL   OF   GESTURE. 

and  a  morning  of  autumn,   a  night    brilliant  with  stars,  and  a  night 

b.h.d.o.  b.  h,a.  o. 

obscure  with  clouds ;  meadows  enamelled  with  Jlowers ;  fields  waving 

b.  h.  a.  o.  p.  b.  h.  d.  f. 

with  harvests ;  woods,  heavy  with  the  frosts  of  winter :  you  will  then 

b.  h.h.o.  b.h.h.l.p. 

have  a  just  notion  of  the  spectacle  of  the  universe. 

b.h.h.l. 

XXII. 

I  am  charged  with  pride  and  ambition.     The  charge  is  true,  and  I 

h.o.  d.  1. 

glory  in    its  truth.     Whoever    achieved    anything  great   in  letters,  arts 
a.  o.  h.o. 

or  arms  who  was  not  ambitious  ?     Ccesar  was  not  more  ambitious  than 
h.  1.                            imp.                                    h.  f. 

Cicero  :  it  was  but  in  another  way.     Let  the  ambition  be  a  noble  one, 
h.l.  d.l.  a.o. 

and  who  shall  blame  it? 
h.o. 

XXIII. 

The  greatest  glory  of  a  free-born  people, 

b.  h.h.o. 
Is  to  transmit  that  freedom  to  their  children. 

b.  h.  d.  o.. 

XXIV. 

Mr.   Chairman,  I  call  on  your    interference    to    put  a  stop   to    this 
h.f.  d.f, 

uproar. 

XXV. 

Such,  where  ye  find,  seize  fast,  and  hither  bring, 
h.o.  h.o.  p.  d.o. 


XXVI. 

The  great  King  of  kings 
h.  o. ind. 
Hath  in  the  table  of  His  law  commanded, 

h.  f,  ind. 
That  thou  shalt  do  no  murder ;     wilt  thou  then 

d.  o.  ind. 
Spu^n  at  His  edict,  and  fulfil  a  man's? 
d.l.  cLo. 


MISCELLANEOUS   EXAMPLES.  169 


xxvn. 

I  died  no  felon  death  — 

d.l. 
A  warrior  s  weapon  freed  a  warrior's  soul. 
h.o.  h.I. 

XXVIIL 

Peace  is  despai/cL 
d.l. 
For  who  can  think  submission  I      War,  then,  war 
d,  o.  h.  f.  rep. 

Open  or  understood,  must  be  resolved. 

d.f. 

XXIX. 

'T  is  not  in  mortals  to  command  success  ; 

d.  o.  rep. 

But  we  '11  do  more,  Sempronius,  we  '11  deserve  it. 
b.  h.d.  o.  rep. 

XXX. 

Speak  of  a  man  as  you  find  him, 

h.f. 
And  heed  not  what  others  may  say. 
h.  1. 

XXXI. 

Can  ministers  still  presume  to  expect  support  in  their  infatuation? 

Can  Parliament  be  so  dead  to  its  dignity  and  duty,  as  to  give  its  sup- 
fa.  h.  h.  o.  b.  h.  d.  o. 
port  to  measures  thus  intruded  and  forced  upon  it  ? 

b.h.d.f. 

XXXIL 

Vain  hopes  and  empty  joys  of  human  kind, 

d.o.  d.l. 

Proud  of  the  present,  to  the  future  blind. 
h.  f.  h.  o.  p. 

XXXIII. 

Thus  pleasures  fade  away, 
h.I. 

Youth,  talents,  beauty,  thus  decay, 
d.l.    

And  leave  us  dark,  forlorn,  and  grey. 
r.  h.  upl.  d.U 


170  MANUAL  OF  GESTURE. 


XXXIV. 


When  beauty  triumphs,  ah  beware  ! 
h.  o.  h.o.  ind. 

Her  smile  is  hope!  her  frown  despair! 
a.  f.  d.  f. 


XXXV. 


Who  that  surveys  this  span  of  earth  we  press, 
b.  h.  d.  o. 

This  speck  of  life  in  time's  great  wilderness, 
d.f.  ind.  b.h.h.  1. 

This  narrow  isthmus  'twixt  two  boundless  seas, 
d.f.  b.h.h.l. 

The  past,  the  future,  two  eternities  ! 
h  o.  b.  h.f.  b.  h.  a.l. 

Would  sully  the  bright  spot  or  leave  it  bare, 

d.f.  p.  d.  1. 

When  he  might  build  him  a  proud  temple  there, 

b.h.  a.  o. 

A  name,  that  long  shall  hallow  all  its  space, 

b.h.  a.l. 

And  be  each  purer  soul's  high  resting  place. 

b.  h.  a.  f. 


XXXVI. 

How   can    it   enter   the    thoughts  of  man   that  the  soul,    which   is 
h.o.  h.f. 

capable  of  such  immense  perfections,   and  of  receiving   new  improve- 

a.  o. 
ments  to  all  eternity,  shall  fall    away  into  nothing  almost  as  soon  as 
a.  1.  d.  o. 

created. 
d.l. 

XXXVII. 

Our  thoughts  are  boundless,  though  our  frames  are  frail, 
b.h.h.l.  b.h.d.o. 

Our  souls  immortal,  though  our  limbs  decay ; 
b.  h.  a.  o.  b.  h.  d.  1. 

Though  darkened  in  this  poor  life  by  a  veil 
h.o.  p. 
Of  suffering,  dying  matter,  we  shall  play 
b.h.  d.l.  p. 

In  truth's  eternal  sunbeams;  on  the  way 
b.h.  a.  0. 


MISCELLANEOUS   EXAMPLES.  171 

To  Heaven's  high  capital  our  cars  shall  roll  ; 

b.  h.  a.  f. 

The  temple  of  the  Power  whom  all  obey, 

b.  h.  d.  o. 

That  is  the  mark  we  tend  to,  for  the  soul 
a  f.  ind. 

Can  take  no  lower  flight,  and  seek  no  meaner  goal, 
d.o.  d.l. 

XXXVIIL 

See  through  this  air,  this  ocean,  and  this  earth, 

b.h.h.l. 
All  matter  quick,  and  bursting  into  birth, 
b.h.h.o.  b.h.h.l. 

Above,  how  high  !  progressive  life  may  go ! 
b,  h.  a.  f. 

Around,  how  wide !  how  deep  extend  below ! 

b.h.h.l.        b.  h.d.  f.  rep. 

Vast  chain  of  being  !  which  from  God  began, 
b.h.h.l.  a.f. 

Nature's  ethereal,  human,  angel,  man, 

h.f. 
Beast,  bird,  Jish,  insect,  what  no  eye  can  see, 

h.l.  d.l. 

No  glass  can  reach,  from  infinite  to  tliee, 

h.l.  imp.  b.  h.a.  1.        h.f. 

From  thee  to  nothing. 
h.  f.  d.  1. 

XXXIX. 

From  cloud  to  cloud  the  rending  lightnings  rage  s 

b.h.a.  o.v.  b.h.a.  l.v. 

Till,  in  the  furious  elemental  war 

Dissolvd,  the  whole  precipitated  mass 
b.h.a.I.v. 

Unbroken  floods  and  solid  torrents  pour, 
b.h.h.o.  p.  b.  h.d.o. 

XL.* 

I  went  by  the  field  of  the  slothful,  and  by  the  vineyard  of  the  man 
h.o. 

void  of  understanding ;  and  lo,  it  was  all  grown  over  with  thorns,  and 
h.l.  h.l.  ind.  d.o.  p. 

♦  While  the  Scriptures  and  sacred  hymns  are  here  used  for  illustration,  it  is  not 
with  a  view  of  recommending  the  employment  of  gesture  in  their  public  reading ; 
but  only  when  they  are  quoted  by  the  public  speaker,  and  form  a  part  of  the  {'vis- 
course. 

8* 


172  MANUAL  OF   GESTURE. 


nettles  had   covered  the   face   thereof,   and   the  stone  wall   thereof  was 
d.l.  p. 

broken  down.      Then  I  saw  and  considered  it  well :   I  looked  upon  it, 
d.o.  b.  p.  d.f.  ind. 

and    received    instruction.      Yet  a  little    sleep,  a  little  slumber,  a  Uttle 
rep.  d.  f,  d.  o. 

folding  of  the  hands  to  sleep  :   so  shall   thy  poverty  come  as  one   that 

hands  folded.  h.  f.  ind. 

travaileth  ;  and  thy  want  as  an  ar?ned  man. 
h.l.ind.  h.o.  d.o.  ind. 


XLI. 

They  cried  unto  the  Lord  in  their  trouble,  and  He  delivered  them 
b.  h.  a.  f. 
out  of  their  distresses. 
b.  h.d.l. 

XLII. 

Were  the  whole  realm  of  nature  mine, 

b.h.  h.l. 
That  were  a  present  far  too  small ; 
b.h.  d.o. 
Love  so  amazing,  so  divine, 
b.  h.upl.a.  o.       b.  h.a.  f. 


Demands  my  soul,  m}^  life,  my_  all. 
b.  h.  h.  f. 


b.h.  d.o.    b.h.  d.l. 


XLin. 


He  who  reigns  on  high 

Upholds  the  earth,  and  spreads  abroad  the  sky, 
b.h.h.f.  b.h.a.l. 

With  none  His  name  and  power  will  He  divide, 

d.f. 
For  He  is  God  and  there  is  none  beside, 
a  f.  d.  1. 


XLIV. 

It  chills  my  blood  to  hear  the  blest  Supreme 

b.h.  d.f. 
Rudely  appealed  to  on  each  trifling  theme  ; 
b.h.  d.o. 
Maintain  your  ra7ik,  vulgarity  despise, 

d.  f.  d.  1. 

To  swear  is  neither  brave,  polite,  nor  wise ; 
d.  f.       d.  o.  d.  1. 


MISCELLANEOUS   EXAMPLES.  173 


You  would  not  swear  upon  a  bed  of  death  / 

d.f. 

Bervare !  your  Maker  now  may  stop  your  breath, 
h.  o.  ind.  d.f.  ind. 

XLV. 

A  scomer  seeketh   wisdom,  and    findeth   it   not:    but    knowledge  is 
h.  o.  ind.  h.  o.  d.  o. 

easy  unto  him  that  understandeth. 
d.l. 

XLVL 

The  getting  of  treasure  by  a  lying  tongue  is  a  vanity  tossed  to  and 

n.o.  h.  1. 

fro  of  them  that  seek  death. 
d.o. 

XLVIL 

There  is  that  maketh  himself  rich,  yet  hath  nothing :  there  is  that 

h.  o.  drop, 

maketh  himself /^£>r,  yet  hath  great  riches. 
d.l.  b.  h.d.o. 

XLVIII. 

I  have    rejoiced   in    the  way  of  Thy  testimonies  as  much    as  in  all 

a.  o. 
riches. 
b.h.h.o. 

XLIX. 

Better  is  a  little  with  the  fear  of  the  Lord,  than  great  treasure  and 
d.l.  h.l. 

trouble  therewith. 
d.l. 


If   thou    hast    done  foolishly  in  lifting   up  thyself,  or  if  thou  hast 
d.o.  a.o. 

thought  evil,  lay  thine  hand  upon  thy  mouth, 
h.  o.  h.  f.  p. 

LL 

The  Lord  hath  made  all  things  for  Himself :  yea  even  the  wicked 

b.  h.  a.  f.  b.  h.  d.  f. 

for  the  day  of  evil. 
rep. 


174  MANUAL   OF   GESTURE. 


LII. 

The  dark  places  of  the  earth  are  full  of  the  habitations  of  cruelty. 
h.  1.  d.  1. 

LIII. 

The  Lord  doth  build  up  Jerusalem :  He  gathereth  together  the  out- 
h.o.  b.  h.h.  o. 

casts  of  Israel.     He  healeth  the  broken  in  heart,  and  bindeth  up  their 

h.o.  p.  b.h.  d.o. 

wounds.     He  telleth  the  number  of  the  stars ;  He  calleth  them  all  by 

a.  1. 
their  names.     Great  is  our  Lord,  and  of  gredii  power ;  His  understand- 
b.h.a.  1.    b.  h.  a.  f.  b.  h.  a.  o. 

ing  is  infinite.     The  Lord  lifteth  up  the  meek ;  He  casteth  the  wicked 
b.  h.a.  1.  h.o. 

down  to  the  ground. 
d.  o.  p. 

LIV. 

Open  thy  mouth,  judge  righteously,  and  plead  the  cause  of  the  poor 
h.  o.  d.  o.  b.  h.  h.  o. 

and  needy. 

LV. 

With  the  Lord  there  is  mercy,  and  with  Him  is  plenteous  redemption. 
h.o.  b.h.h.  1. 

And  He  shall  redeem  Israel  from  all  his  iniquities. 
b.h.  h.o.  b.h.  d.o. 


LVI. 

The  tongue  of  the  just  is  choice  silver :  the  heart  of  the  wicked  is 
h.  o.  d.  o.  h.  1. 

little  worth. 
d.l. 

LVII. 

Faithful  are  the   wounds  of  a  friend ;  but  the  kisses  of  an  enemy 
d.  f.  h.  f.  h.  o. 

are  deceitful. 
d.l. 

LVIII. 

Rivers  of  waters  run  down  mine  eyes,  because  they  keep  not  Thy 
b.h.  d.o.  drop. 

law. 


MISCELLANEOUS   EXAMPLES.  175 


LIX. 

My  zeal  hath  consumed  me,  because  mine  enemies   have  forgotten 
b.h.d.f.  b.  h.d.l. 

Thy  words. 

LX. 

Rejoice,  O  young  man,  in  thy  youth ;  and  let  thy  heart    cheer  thee 
h.  f.  rep.  h.  o. 

in  the  days  of  thy  youth,  and  walk  in  the  ways  of  thine  heart  and  in 

h.  f. 
the    sight    of   thine    eyes :    but    know    thou,    that    for  a//  these    things 

h.o.  h.  f.  ind.  b.  h.h.o. 

God  will  bring  thee  into  judgment, 
r.  h.  upl.  ind.  sus. 


LXL 

A  friend  cannot  be  known  in  prosperity,  and  an  enemy  cannot  be 
h.o.  h.  I.  d.o. 

hidden  in  adversity. 
d.l. 

LXIL    • 

There  is  not  a  just  man  upon  earth,  that  doeth  good  and  sinneth 

d.o.  -       d.l. 

not. 

LXIIL 

Get  wisdom,  get  understanding :  forget  it  not ;   neither  decline  from 
h  f.  ind.  h.o.  ind.  rep.  d.  o.  ind. 

the  words  of  my  mouth.     Forsake  her  not,  and  she  shall  preserve  thee  ; 
h.  f.  ind.  d.  o. 

love  her,  and   she   shall   keep  thee.      Wisdom   is   the  principal  thing ; 
h.f.  d.  f.  h.o.  d.o. 

therefore    get    wisdom :  and    with    all   thy  getting   get    understanding. 

h.o.  b.  h.h.o.  b.  h.d.o. 

Exalt  her,  and  she  shall  promote  thee :   she  shall  bring  thee  to  honor, 

a.  f.  a.  o.  a.  1. 

when  thou  dost  embrace  her.      She    shall    give  to  thine  head  an  oina- 
h.o.  a.  o. 

ment  of  grace :  a  crown  of  glory  shall  she  deliver  to  thee. 


LXIV. 

Without  counsel  purposes  are  disappointed :  but  in  the  multitude  of 
h.o.  d.o.  b. h.h.o. 

counsellors  they  are  established. 
b.  h.d.o. 


176  MANUAL  OF  GESTURE. 


LXV. 

Commit  thy  works  unto  the  Lord,  and  thy  thoughts  shall  be  estab- 
a.  f.  d.  f. 

lished. 

LXVI. 

There  are  many  devices  in  a  man's  heart ;  nevertheless  the  counse) 
h.o. 
of  the  Lord,  that  shall  stand. 
a.  f.  h.  f. 

LXVII. 

He  came  unto  His  own,  and  His  own  received  Him  not. 
b.  h.h.  f.  b.h.d.  o. 


Lxvni. 

I  have  seen  the  wicked  in  great  power,  and  spreading  himself  like 

a.  o. 
a  green  bay  tree.      Yet    he  passed   away,  and    lo,   he   was    not :    yea  I 

a.  1.  h.  1.  d.  o.  ind. 

sought  him,  but  he  could  not  be  found. 
h.o.  d.l. 

LXIX. 

He  that  gathereth  in  summer  is  a   wise  son  :  but   he    that   sleepeth 
h.o.  d.  o.  h.  1. 

in  harvest  is  a  son  that  causeth  shame. 

d.l. 

LXX. 

Except  the  Lord  build  the  house,  they  labor  in  vain  that  build  it. 
a.f.  d.l. 

LXXI. 

The  Lord  will  not  cast  off  His  people,  neither  will  He  forsake  His 
dfl.  h.l. 

inheritance. 

LXXIL 

Blessings  are  upon  the  head  of  the  just ;  but  violence  covereth  the 
b.  h.  h.  o.  rep.  d.  o.  p. 

mouth  of  the  wicked. 
rep. 


>nSCELLANEONS   EXAMPLES.  177 


LXXIII. 

The  wise  in  heart  will   receive  commandments  :    but  a  prating  fool 
h.  o.  d.  o.  h.  1. 

•hall  fall. 
d.l. 

LXXIV. 

Beware  of  false  prophets,  which  come  to  you    in    sheep's    clothing ; 
h.o.  d.l. 

but  inwardly  they  are  ravening  wolves. 

d.  f. 

LXXV. 

He  that  saith  unto    the    wicked,  thou  art  righteous;  him  shall   the 
h.o.  rep. 

people  curse,  nations  shall  abhor  him. 
d.  o.  ind.      h.  1.  d.o.  b. 


LXXVI. 

.•  but  the 
h.o.  *    d.o.  h.  1. 


In  all  labor  there  is  profit :  but  the  talk  of  the   lips  tendeth  only 


to  poverty. 
d.l. 


LXVII. 


Hell  and  destruction  are  never  full ;   so  the  eyes  of  man  are  never 
b.h.d.o.  b.h.d.l.  b.h.h.o. 

satisfied. 
b.h.d.o, 

LXXVIII. 

Every  prudent  man  dealeth  with  knowledge  :  but  a  fool  layeth  open 

h.o. 
his  folly. 
d.  1. 

LXXIX. 

As  for  man,  his  days  are  as  grass :  as  a  flower  of  the  field,  so  he 
h.  f.  d.f.  d.o. 

flourisheth.     For  the  wind  passeth  over  it,  and  it  is  gone ;  and  the  place 

d.l.  p.  drop.         no  action. 

thereof  shall  know  it  no  more. 

LXXX. 

He  hath  remembered  His   covenant  for  ever,  the  word  which  He 

h.  o. 
commanded  to  a  thousand  generations. 
b.h.h.  1. 


178  MANUAL  OF  GESTURE. 


LXXXI. 

In    the    transgression   of  an   evil  man   there    is  a  snare  :  but  the 

h.o.  d.  o. 

righteous  doth  sing  and  rejoice. 
h.  f.  a.  o. 

LXXXII. 

The  poor  and  the  deceitful  man  meet  together :  the  Lord  lighteneth 

b.h.h.f 
both  their  eyes. 
b.  h.h.o. 

LXXXIII. 

"What  shall  it  profit  a  man,  if  he  shall  gain  the  whole  world,   and 
b.  h.h.o.  b.  h.h.l. 

lose  his  own  soul?    Or  what  shall  a  man  give  in  exchange  for  his  soul? 
b.h.d.l.  b.h.d.o. 

LXXXIV. 

Here  mercy's  boundless  ocean  flows, 

b  h.h.l. 
To  cleanse  our  guilt  and  heal  our  woes ; 

b.h.d.o. 

Pardon  and  life  and  endless  peace, 
b.  h.h.o. 

How  rich  the  gift !  how  free  the  grace  ! 
b.h.  upl.  a.  o.    b.  h.h.l. 

LXXXV. 

Tune  your  harps  anew,  ye  seraphs ; 
b.  h.  a.  o, 

Join  to  sing  the  pleasing  theme : 
rep. 
All  in  earth  and  Heaven  uniting, 
b.  h.h.o.        b.h.  a.  o. 

Join  to  praise  ImmanueVs  name, 
b.h.a.f. 

LXXXVI. 

There  is  a  time,  we  know  not  when, 

ho.  p. 

A  point,  we  know  not  where, 
h.l.p. 

That  marks  the  destiny  of  men, 
h.o.  ind. 

To  glory  or  despair  ; 
^      ^  d.l.ind. 


MISCELLANEOUS  EXAMPLES,  179 


There  is  a  line,  by  us  unseen, 
h.  f.  ind. 


That  crosses  every  path, 
h. o. ind. 
The  hidden  boundary  between 

God's  patience  and  His  wrath. 
r.  h.  upl.  d.o. 


LXXXVII. 

The  names  of  all   His  saints  He  bears, 
b.  h.  a.  o. 

Deep  graven  on  His  heart ; 

^^  b.h.a.f. 

Nor  shall  the  meanest  Christian  say 

d.  1. 

That  he  hath  lost  his  part. 

drop. 

Those  characters  shall  fair  abide, 
b.  h.  a.  o. 

Our  everlasting  trust, 
b.  h.  d.  f. 
When  gems,  and  monuments,  and  crowns, 

b,  h.  upl.  a.  o. 

Are  mouldered  down  to  dust. 
b.h.d.  l.p. 


LXXXVHL 

Now  there  are  diversities  of  gifts,  but  the  same  Spirit.     And  there 
h.  o.  a.  o. 

are  differences  of  administrations,  but   the  same  Lord.     And  there   are 
h.  1.  h.  f. 

diversities  of  operations,  but  it  is  the  same  God  which  worketh  all  in  all. 
h.o.  a.f.  b.h.h.  1. 

LXXXIX. 

Thy  kingdom  is  an  everlasting  kingdom,  and  Thy  dominion  endureth 
b.  h.  h.o. 
throughout  all  generations. 
b.h.h.l. 

xc. 

The  eyes  of  the  Lord  are  in  every  place,  beholding  the  m/  and  the 

b.  h.  h.  1. 
good. 
rep. 


180  MANUAL  OF  GESTURE. 


XCI. 

He  clave  the  rocks  in  the  wilderness^  and  gave  them  drink  as  out 

h.l. 

of  the  great  depths.     He  brought    streams    also    out  of  the  rock,  and 
d.l.  b.h.h.f. 

caused  waters  to  run  down  like  rivers. 

b.  h.  d.  f. 


XCII. 

Turn  ye,  turn  ye,  for  why  will  ye  die? 


b.  h  h  f.  b.h. 


xcin. 


And  the  rain  descended  and  the  floods  came,  and  the  winds  blew,  and 
b.h.a.  f.  p.  b.  h.  a.  o.  p.  b.  h.  a.  1.  p. 

beat  upon  that  house;  and  it  fell:  and  great  was  the  fall  of  it. 
b.  h.  h  f.  p.  b.  h.  d.  o.  p,         drop. 

XCIV. 

Who   hath    ascended   up    into    Heaven,  or   descended?    Who    hath 
h  f.  a.  f.  d.f. 

gathered  the  winds  in  His  fists?     Who   hath  bound  the    waters  in  a 

a.  o.  b.  h.  h.  o. 

garment?     Who  hath  established  all  the  ends  of  the  earth? 

b.h.  h.l. 

XCV. 

O  may  I  no  longer  dreaming, 

Idly  waste  my  golden  days  ; 
b.h.h.  1.  p. 
But  each  precious  hour  redeeming, 
h.  o. 
Upward,  onward,  press  my  way. 
a.  f.         b.  h.  h.  f. 

XCVI. 

In  thoughts  from  the  visions  of  the  night,  when  deep  sleep  falleth 

r.  h.  upl.  h.  o.  p. 

on  men,  fear  came  upon  me,  and  trembling,  which  made  all  my  bones 

r.  h.  upl.  tremor. 

to  shake.     Then  a  spirit  passed  before  my  face  ;   the  hair  of  my  flesh 

b.  h.  upl.  tr.  h.  f. 

stood  up:  it  stood  still,  but  I  could  not  discern  the  form  thereof:   an 

r.  h.  upl.  h.  f.  p.  drop. 


MISCELLANEOUS   EXAMPLES.  181 


image  was  before   mine   eyes,  there  was  silence^  and  I  heard  a  voice, 

h .  f.  '  drop, 

saving,    Shall  mortal  man    be  more   just  than   God?  Shall  a  man  be 

^     ^                        d.o.                                                   a.f.  h.l. 

more  pure  than  his  Maker? 
a.  1. 


xcvn. 

The  heathen  are  sunk  down  in  the  pit  that  they  made  ;  in  the  net 
d.  o.  p. 

which  they  hid  is  their  own  foot  taken. 
b.  h.d.o.  b.  h.d.  f. 


XCVIIL 

Let  them  all  be  confounded  and  turned  back  that  hate  Zion. 
d.  o.  p.  d.  1.  p. 


XCIX. 

Zion  awake;  thy  strength  renew; 
b.  h.  a.  o.  b.  h.  h.  o. 

Put  on  thy  robes  of  beauteous  hue ; 

b.  h.a.  o. 

Church  of  our  God,  arise  and  shine. 
b.  h.a.l. 

Bright  with  the  beams  of  truth  divine. 


Soon  shall  thy  radiance  stream  afar, 

b.  h.  h.  1. 

Wide  as  the  heathen  nations  are  ; 
imp. 

Gentiles  and  kings  thy  light  shall  view; 

b.  h.  a.  o. 
All  shall  admire  and  love  thee  too. 
b.  h.a.l. 

C. 

Jerusalem  is  builded  as  a  city  that  is  compact  together. 


CL 

Thy  testimonies  are  wonderful :  therefore  my  soul  doth  keep  them, 
b.  h.a.  o.  b.  h.h.o. 


182  MANUAL  OF  GESTURE. 


CII. 

Open  Thou  mine  eyes  that  I  may  behold  wondrous  things  out  of 
b.  h.a,  o.  b.  h.a.  1. 

Thy  law. 

cm. 

That  which  hath  been  is  now ;  and  that  which  is  to  be  hath  already 
h.l.  h.  f.  a.f.  d.f. 

been  ;  and  God  requireth  that  which  is  past. 
a.  f.  h.  1. 


CIV. 

The  Lord  on  high  is  mightier  than  the  noise  of  many  waters,  yea 

b.  h.  h.o. 
than  the  mighty  waves  of  the  sea. 

b.h.  h.l. 


CV. 

The  Lord  is  great,  and  greatly  to  be  praised:  He  is  to  be  feared 

above    all  gods.      For  all  the   gods  of  the   nations  are  idols :  but  the 

b.  h.  a.  o.  d.  1. 

Lord  made  the  heavens.     Honor  and  majesty  are  before  Him :  strength 

b.  h.  a.  o.  b.  h.  a.  f. 

and  beauty  are  in  His  sanctuary.       *       *        *        q  that  men  would 
b.h.  h.o. 

praise  the  Lord  for  His  goodness,  and  for  His  wonderful  works  to  the 

b.  h.  a.  o.  b.h.  h.o. 

children  of  men. 


CVL 

That  which  is  far  off  and  exceeding  deep,  who  can  find  it  out  ? 
h.l.  b.h.  d.f.  h.o. 


CVIL 

Amazing  sight  !  the  Saviour  stands 
b.  h.  upl.a.  o.  h.  f.  p. 

And  knocks  at  every  door  I 
h.  o.  p. 

Ten  thousand  blessings  in  His  hands, 
b.h.  h.o. 

To  satisfy  the  poor. 
d.h.d.o. 


MISCELLANEOUS   EXAMPLES.  183 


cvin. 

Enter  ye  in  at  the  strait  gate  ;  for  zvide  is  the  gate,  and  broad  is  the 
b.h.h.f.  b.  h.h.o.  b.h.h.l. 

way  that  leadeth  to  destruction,  and  many  there  be  which  go  in  thereat 
b.h.d.o.  b.h.d.l. 

because  strait  is  the  gate  and  narrow  is  the  way  which  leadeth  unto 
b.h.h.f. 

life,  and  feiv  there  be  that  find  it. 
b.h.a.f.  b.lud.f. 


CIX. 

Enter  not  into  the  path  of   the  wicked,  and  go  not  in  the  way  of 
^  h.f.ind.  ^  ^ 

evil  men.     Avoid  it,  pass  not  by  it,  turn  from  it,  and  pass  away. 
h.i.ind.  h.l.  p.  h.  1.  ind.  h.  1.  p.  d.l.p. 


ex. 

When  the  wicked  are  multiplied,  transgression  increaseth. 
b.  h.h.o.  b.h.d.o. 


CXL 

A  man's  pride   shall    bring    him  loiv :    but  honor  shall    uphold  the 
h.o.  d.  o,  a.  o.  rep. 

humble  in  spirit. 


cxn. 

Boast  not  thyself  of  to-morrow ;  for  thou  knowest  not  what  a  day 
h.f.ind.  d.o. 

may  bring  forth. 


cxin. 

Like  floods  the  angry  nations  rise, 
b.h.h.o. 

And  aim  their  rage  against  the  skies ; 

b.h.a.o. 
Vain  floods,  that  aim  their  rage  so  high ; 

At  His  rebuke  the  billows  die. 
d.l.p. 


184  MANUAL  OF   GESTURE. 


CXIV. 

Hark  !   a  brazen  voice 
r.  h.  upl.  ind. 

Swells  from  the  valley,  like  the  clarion 
h.l.  ind.  h.o.  ind. 

That  calls  to  battle. 

CXV. 

This  doctrine,  as  long  as  I  have  breath,  I  shall  oppose. 
h.f.  rep.  d.f. 

CXVI. 

It    may  be  said    that    disease    generally  begins  that  equality  which 

h.  o. 
death  completes. 
d.  o. 

CXVII. 

Clearness,  force   and    earnestness    are    the    qualities  which   produce 
d.o. 
conviction. 

CXVIII. 

Grace  was  in  all  her  steps,  heaven  in  her  eye, 
h.o.  imp.        a.  o. 

In  every  gesture  dignity  and  love. 
d.o. 

CXIX. 

Know  thou  this  truth  {enough  for  man  to  know), 
h.  f.  h.  1. 

Virtue  alone  is  happiness, 
d.o. 

cxx. 

Begone,  I  will  not  hear  thy  vain  excuse, 
h.l. p.  d.l.  p. 

But  as  thou  lov'st  thy  life,  make  spetd  from  hence, 
h.  f.  ind.  h.  1. 

CXXI. 

Why  should  we  count  our  life  by  years, 

h.  o. 

Since  years  are  short  and  pass  away 

h.  1. 


MISCELLANEOUS  EXAMPLES.  185 


CXXII. 

I  've  touch'd  the  highest  point  of  all  my  greatness 
a.  f.  md. 

And  from  that  full  meridian  of  my  glory, 

a.  f. 
I  haste  now  to  my  setting.     I  shall  fall, 
h.  1.  p. 

Like  a  bright  exhalation  in  the- evening; 

h.l.  ind. 

And  no  man  see  me  more, 
drop. 

cxxin. 

All  flesh  is  grass,  and  all  its  glory  /odes. 
b.h.d.o.  b.h.d.l. 


CXXIV. 

And  what  is  friendship  but  a  name, 
h.o.  h.l. 

A  charm  that  lulls  to  sleep  : 
d.I. 

A  sliade  that  follows  wealth  or  fame, 
h.l. 

And  leaves  the  wretch  to  weep. 
d.I. 


CXXV. 

Lighter  than  the  whirlwind' s  blast, 
a.l. 

He  vanished  from  our  eyes, 
drop, 

CXXVL 

I  had  a  seeming  friend ;  I  gave  him  gifts, 

h.o.  h.l. 

And  he  was  gone. 
drop. 


CXXVIL 

What  is  glory?    What  is  fame? 

a.  o.  a.  1. 

The  echo  of  a  long  lost  name, 

d.I.  p. 
A  breath,  an  idle  hoia's  brief  talk  ; 
h.l.  d.I. 


186  MANUAL   OF   GESTURE. 


A  flower  that  blossoms  for  a  day, 

h.l. 
Dying  next  morrow, 
drop. 

A  stream  that  hurries  on  its  way. 
h.l. 

Singing  of  sorrow, 
drop. 

CXXVIII. 

Hail  horrors  I  hail, 
b.  h.  a.  o.  rep. 

Infernal  world,  and  thou,  profoundest  hell, 
b.  h.  h.o.  b.  h.  d.f. 

Receive  thy  new  possessor. 
rep. 

CXXIX. 

Can  you  raise  the  dead? 
d.f. 

Pursue  and  overtake  the  wings  of  time? 

a.  o. 
And  bring  about  again  the  hours,  the  days. 

The  years  that  made  me  happy  ! 
h.  I. 

CXXX. 

Rise,  fathers  !  rise  I  \  is  Rome  demands  your  help, 
b.h.h.o.  b.h.a.o.  h.  1. 

CXXXI. 

My  heart  is  withered  at  that  piteous  sight, 
r.  h.on  heart. 

CXXXII. 

The  dying  agonies  of  one  who  dies  to  save  him, 

d.  f. 
Excite  no  sympathy  in  his  breast, 
d.  1. 

CXXXIII. 

Unnumbered  suppliants  crowd  preferment's  gate, 

b.h.h.o.  b.h.h.f. 

Athirst  for  wealth,  and  burning  to  be  great, 
b.  h.  a.  o. 

Delusive  fortune  hears  the  incessant  call, 
r.  h.  h.  1.  ind. 

They  mount,  they  shine — evaporate  and  fall, 
b.h.h.f.  b.h.a.o.       b.  h.  h.  1.  drop. 


MISCELLANEOUS  EXAMPLES.  187 


CXXXIV. 

Through  many  a  clime  'tis  mine  to  go, 
h.  1, 

With  many  a  retrospection  curst, 
h.  I.  p. 

And  all  my  solace  is  to  know, 
h.  o. 

Whateer  betides,  I  've  known  the  worst. 

h.l.  d.o. 

What  is  the  worst?     Nay,  do  not  ask, 

h.  f.  h.  1.  p. 

In  pity  from  the  search  forbear  : 

h.f  p.  imp. 

Smile  on  —  nor  venture  to  unmask 
h.o. 

Man's  heart,  and  view  the  hell  that's  there, 
d.f. 


cxxxv. 

The  quality  of  mercy  is  not  strain' d  ; 

h.  1. 

It  droppeth,  as  the  gentle  rain  from  heaven, 

a.  o. 
Upon  the  place  beneath  :  it  is  t^uice  bless'd ; 

d.o.  d.f. 

It  blesseth  him  that  gives,  and  him  that  takes : 
h.o.  d.o. 

T  is  mightiest  in  the  mightiest;  it  becomes 

a.  o. 
The  throned  monarch  better  than  his  crown  : 

a.l.  h.l. 

His  sceptre  shows  the  force  of  temporal  power, 

The  attribute  to  awe  and  majesty, 

a.  o. 
Wherein  doth  sit  the  dread  and  fear  of  kings : 

h.  o. 

But  mercy  is  above  his  sceptred  sway, 
a.  o. 

It  is  enthroned  in  the  hearts  of  kings : 
h.o. 

It  is  an  attribute  to  God  Himself; 
a.f. 

And  earthly  power  doth  then  show  likest  God's, 

h.o.  a.  o. 

When  mercy  seasons  Justice. 
h.o. 


188  MANUAL  OF   GESTUBE. 


CXXXVI. 

Of  God  she  sung,  and  of  the  mild 

a.  f. 
Attendant  Mercy,  that  beside 
a.  o. 

His  awful  throne  forever  smiled. 
a.l. 

CXXXVII. 

Now  fades  the  glimmering  landscape  on  the  sight, 
b.h.  h.l.  p. 

And  all  the  air  a  solemn  stillness  holds, 
b.  h.  upl.  a.  o. 

Save  where  the  beetle  wheels  his  droning  flight, 
h.l.ind. 
And  drowsy  tinklings  lull  the  distant  folds, 
h.o.b.  ind.  d.o.b.p. 

CXXXVIII. 

The  strife  of  fiends  is  on  the  battling  clouds, 

b.  h.  a.  o. 
The  glare  of  hell  is  in  these  sulphurous  lightnings  ^ 

b.  h.  d.  o.  b.  h.  a.  o. 

This  is  no  earthly  storm. 
r.  h.  upl.  a.  o.        d.  1. 

CXXXIX. 

United  we  stand ;  divided  we  fall. 
b.  h.  h.  f.  b.  h.  d.  o. 


CXL. 

Time !    Time !    in  thy  triumphal  flight 
b.  h.  a.  f. 
How  all  life's  phantoms  fleet  away  ! 
b.h.  h.l. 


CXLI. 

Ye  diff"erent  sects  who  all  declare, 
b.h.h.o. 

Lo  Christ  is  here  and  Christ  is  there ; 

h.  f.  h.  1. 

Your  stronger  proofs  divinely  give, 

d.o. 
And  tell  me  where  the  Christians  live. 
h.  o.  imp. 


MISCELLANEOUS   EXAMPLES.  189 


CXLIL 

His  heart  is  far  from  fraud,  as  heaven  and  earth, 
h.l.  b.h.h.l. 


CXLIIL 

If  you  were  men,  as  men  you  are  in  show, 
h.o.  h.l. 

You  would  not  use  a  gentle  lady  so. 
d.  o. 


CXLIV. 

Time  past,  and  time  to  come  are  not — 

h.  1.  h.  f.  d.  I. 

Time  present  is  our  lot. 
d.f. 


CXLV. 

Press  bravely  onward!  —  not  in  vain 
h.f.  h.l. 

Your  generous  trust  in  human  kind ; 
b.h.  h.o. 

The  good  which  bloodshed  could  not  gain, 
d.  1. 
Your  peaceful  zeal  shall  find, 
b.  h.  d.  o. 


SELECTIONS  FOR  PRACTICE, 


The  following  selections,  as  well  as  the  preceding 
miscellaneous  examples,  have  been  chosen  with  special 
reference  to  the  system  presented  in  this  work.  In 
order  more  fully  to  illustrate  the  principles  of  the 
science,  the  notation,  for  the  most  part,  exhibits  the 
action  in  its  full  effect.  It  is  by  no  means  to  be  inferred, 
however,  that  so  many  gestures  as  are  here  indicated 
are  absolutely  necessary.  Indeed,  unless  the  words  are 
spoken  with  sufficient  deliberation  to  give  ample  time 
for  the  requisite  transitions,  and  attended  with  the 
proper  accompaniments  of  attitude,  facial  expression 
and  tones  of  voice,  this  notation  cannot  be  followed 
with  good  effect. 

THE  BATTLE  OF  WATERLOO. 

BYRON. 

There  was  a  sound  of  revelry  by  nighty 

h.l.ind. 

And  Belgium's  capital  had  gathered  then 
Her  beauty  and  her  chivalry  ;  and  bright 

b.  h.  h.o. 

The  lamps  shone  o'er  fair  women  and  hrave  men. 

b.h.h.l. 


SELECTIONS  FOR  PRACTICE.  191 


A  thousand  hearts  beat  ha^pily^  and  when 

b.  h.h.l.  imp. 

Music  arose  with  its  voluptuous  swells 

b.  h.  a.  o. 

Soft  eyes  looked  love  to  eyes  which  spake  again  ; 

b.  h.h.  o.  imp. 

And  all  went  merry  as  a  marriage  hell  : 

b.  h.  a.  o. 

But  hush!  hark!  a  deep  sound  strikes  like  a  rising  knell! 

h.o.  p.     h.f.  ind.  a.  1.  ind. 

Did  ye  not  hear  it  ?     No,  't  was  but  the  wind, 

h.  f.  a.  1. 

Or  the  car  rattling  o'er  the  stony  street ; 

h.l. 

On  with  the  dance  !     Let  joy  be  unconfined  ; 

b.h.h.f.  b.  h.h.l. 

No  sleep  till  morn,  when  Youth  and  Pleasure  meet, 

a.  1.  b.  h.h.o. 

To  chase  the  glowing  hours  with  flying  feet — 

b.  h.  d.  o. 

But  hark!  —  that  heavy  sound  breaks  in  once  more, 

h.f.  ind.  h.l.  ind. 

As  if  the  clouds  its  echo  would  repeat ; 

b.  h.a.  o.  imp. 

And  nearer,  clearer,  deadlier  than  before  ! 

b.  h.  d.  f.  rep.  rep. 

Arm  !  Arm  !  it  is  —  it  is  —  the  cannon's  opening  roar  ! 

b.  h.  h.  o.  h.  f.  rep.  h.  1.  ind. 

Ah  !  then  and  there  was  hurrying  to  and  fro, 

b.  h.h.o. 

And  gathering  tears,  and  tremblings  of  distress, 

b.h.d.o.  b.  h.d.  1. 

And  cheeks  all  pale,  which,  but  an  hour  ago, 

b.  h.  h.  o.  p. 

Blushed  at  the  praise  of  their  own  loveliness  ; 

b.h.d.o. 

And  there  were  sudden  partings,  such  as  press 

b.h.d.  I. 

The  life  from  out  young  hearts,  and  choking  sighs 
b.hd.f. 


192  MAKUAL  OF   GESTURE. 

Which  neer  might  be  repeated  ;  who  could  guess 

b.  h.  upl.  drop.  h.  o. 

If  ever  more  should  meet  those  mutual  eyes, 

b.  h.  h.  f. 

Since  upon  night  so  sweety  such  awful  morn  could  rise  ? 

h,  o.  b.  h.  upl.  drop. 


And  there  was  mounting  in  hot  haste  ;  the  steed, 

h.  h.  h.  f.  imp. 

The  mustering  squadron,  and  the  clattering  car, 

b.h.h.o.  b.h.h.f. 

Went  ponving  forward  with  impetuous  speed, 

rep.  rep. 

And  swiitly  forming  in  the  ranks  of  war : 

b.h.h.o. 

And  the  deep  thunder,  peal  on  peal  afar  ; 

b.  h.  a.  f.  b.  h.  h.  1.  par. 

And  near,  the  beat  of  the  alarming  drum 

h.  f.  d.  f. 

Roused  up  the  soldier,  ere  the  morning  star  ; 

h.l.  a.  1. 

While  thronged  the  citizens  with  terror  dumb, 

b.h.h.o.  b.  h.d.o. 

Or  whispering  with  white  lips  — ''  The/oe,  They  come  ! 
They  COME!"  b.h.h.i.par. 

rep. 

And  Ardennes  waves  above  them  her  green  leaves, 

b.  h.  a.  o. 

Dewy,  with  nature's  tear-drops,  —  as  they  pass, 

b.  h.  d.o.  p. 

Grieving  —  if  aught  inanimate  e'er  grieves  — 

b.  h.  upl.  a.  o.  drop. 

Over  the  unreturning  brave  —  alas  ! 

b.  h.  d.o.  p. 

Ere  evening  to  be  trodden  like  the  grass 

h.  h.  d.  o.  p.  imp. 

Which  now  beneath  them,  but  above  shall  grow 

rep.  b.  h.  upl.  h.  o. 

In  its  next  verdure,  when  this  fiery  mass 

drop. 


SELECTIONS   FOE   PRACTICE.  193 

Of  living  valor,  rolling  on  the  foe, 

b.  h.  d.  f.  rep. 

And  burning  with  high  hope^  shall  moulder  cold  and  low, 

rep.  b.  h.a.  o.  drop.  b.h.d.o.p. 

Last  noon  beheld  them  full  of  lusty  life^ 

b.  h.  h.  f.  imp. 

Last  eve  in  Beauty's  circle  proudly  gay^ 

b.h.h.o.  b.h.  h.l. 

The  midnight  brought  the  signal  sound  of  strife^ 

a.  o.  ind. 

The  morn,  the  marshalling  in  arms^  —  the  day 

b.h.h.o. 

Buttle  s  magnificently  stern  array  ! 

b.  h.  h.  f. 

The  thunder  clouds  closed  o'er  it,  which  when  rent^ 

b.  h.  h.  o.  p.  b.  h.  h.  1.  p. 

The  earth  is  covered  thick  with  other  clay, 

b.h.d.o.p.  imp. 

Which  her  OWN"  clay  shall  cover,  heaped  and  pent^ 

b.  h.d.f.  p.  b.  h.a.  o.  par.  h.  h.  d.f.  p. 

Rider  and  horse  —  friend, /oe  —  in  one  red  burial  blent. 

rep.  b.h.d.o.p.  b.h.d.f.p. 


THE  LAUNCHING  OF  THE  SHIP. 

f-  LONGFELLOW. 

All  is  finished^  and  at  length 

d.o. 

Has  come  the  bridal  day 

b.h.h.o. 

Of  beauty  and  of  strength. 

b.h.  d.o. 

To-day  the  vessel  shall  be  launched  ! 

b.h.  h.f. 

With  fleecy  clouds  the  sky  is  blanched. 

b.  h.  a.  o. 

And  o'er  the  bay^ 


194  MANUAL  OF  GESTTtRE. 

Slowly,  in  all  its  splendors  dight, 

b.  h.h.  o. 

The  great  sun  rises  to  behold  the  sight. 

b.h.h.f.  b.h.h.o. 

The  ocean  old^ 

b.h.h.o. 

Centuries  old, 

b.h.d.o. 

Strong  as  youths  and  as  uncontrolled^ 

h.l.  d.l. 

Paces  restless  to  and  fro, 

b.h.h.f. 

Up  and  down  the  sands  of  gold, 

b.  h.  d.  f. 

His  beating  heart  is  not  at  rest. 

d.l. 

Audi  far  and  wide, 

b.  h.  h.l. 

With  ceaseless  flow. 
His  beard  of  snow, 

b.h.d.o. 

Heaves  with  the  heaving  of  his  breast. 

b.h.h.o.  b.h.d.o. 

He  waits  impatient  for  his  bride. 

h.  h.  h.  f. 

There  she  stands, 

h.  o.  ind. 

With  her  foot  upon  the  sands, 

d.o. 

Decked  with  flags  and  streamers  gay, 

a.  1. 

In  honor  of  her  marriage-day, 

b.  h.  a.  o. 

Her  snow-white  signals,  fluttering,  blending, 

a.  o.  ind.  a.  1.  b.  h  h.  f. 

Round  her  like  a  veil  descending, 

b.h.d,o. 

Ready  to  be 

b.h.h.f. 

The  bride  of  the  gray  old  sea. 

b.  h.  h.  1. 


SELECTIONS  FOR  PRACTICE.  195 

Then  the  Master, 

h.  o. ind. 

With  a  gesture  of  command, 
Waved  his  hand; 

a.l. 

And  at  the  word, 

h. o. ind. 

Loud  and  sudden,  there  was  heard, 

b.  h.  upl. 

All  around  them  and  below, 

b.  h.h.l.  b.  h.d.o. 

The  sound  of  hammers,  blow  on  blow, 

d.o.cli.  rep. 

Knocking  away  the  shores  and  spurs. 

d.l.p. 

And  see  !  she  stirs  ! 

h.  f.ind.  h.f. 

She  starts  —  she  moves  —  she  seems  to  feel 

b.  h.  h.  f.  rep. 

The  thrill  of  life  along  her  keel, 

b.h.d.f. 

And,  spurning  with  her  foot  the  ground, 

d.l.p. 

With  one  exulting,  joyous  bound, 

b.  h.  h.  f. 

She  leaps  into  the  ocean's  arms. 

b.  h.  d.  f. 

And  lo  !  from  the  assembled  crowd 
There  rose  a  shout,  prolonged  and  loud, 

a.  1.  rep. 

That  to  the  ocean  seemed  to  say, 

h.f. 

"  Take  her,  O  bridegroom,  old  and  gray ; 

b.  h.  h.  f. 

Take  her  to  thy  protecting  arms, 

rep. 

With  all  her  youth  and  all  her  charms^ 

b.h.h.o. 


196  MANUAL  OF   GESTURE. 


How  beautiful  she  is  !  ho\Y  fair 

b.  h.  h.  o.  b.h.h.f. 

She  lies  within  those  arms,  that  press 
Her  form  with  many  a  soft  caress 

b.  h.  d.  f. 

Of  tenderness  and  watchful  care  ! 

rep. 

^2i\\  forth  into  the  sea,  O  ship  ! 

b.  h.  h.  f. 

Through  wind  and  wave  right  onward  steer ! 

b.h.h.f.  rep. 

The  moistened  eye^  the  trembling  lip^ 

h.o.  h.l. 

Are  not  the  signs  of  doubt  or  fear. 


Sail  forth  into  the  sea  of  life, 

b.h.h.o. 

O  i^entle,  loving,  trusting  wife, 

b.h.d.f. 

And  safe  from  all  adversity, 
h.l. 

Upon  the  bosom  of  that  sea 

b.h.h.o. 

Thy  comings  and  thy  goings  be  ! 

b.h.h.  1. 

For  ojentleness,  and  love,  and  trust, 

b.h.h.o. 

Prevail  o'er  angry  wave  and  gust ; 

b.  h.h.i. 

And  in  the  wreck  of  noble  lives, 

b.  h.a.  o. 

Something  immortal  still  survives  ! 

b.  h.  a.  f. 


Thou  too  sail  on,  O  Ship  of  State ! 

h.f. 
Sail  on,  O  Union,  strong  and  great ! 

b.  h.  h.  f.  rep. 


SELECTIONS   FOR   PRACTICE.  197 

Humanity^  with  all  its /ears, 

b.  h.  h.  o.  b.  h.d.  o. 

With  all  the  hopes  of  future  year 8^ 

b.  h.  a.  o. 

Is  hanging  breathless  on  thy  fate  ! 

b.  h.  h.  f. 

We  know  what  Master  laid  thy  keel, 

h.o. 

What  workmen  wrought  thy  ribs  of  steely 

b.h.h.o. 

Who  made  each  mast  and  sail  and  rope^ 

h.  o.  ind. 

What  anvils  rang,  what  hammers  beat, 

h.  1. 

In  what  a  forge,  and  what  a  heat 
Were  shaped  the  anchors  of  thy  hope. 


Fear  not  each  sudden  sound  and  shock ; 

b.  h.  h.  f. 

'Tis  of  the  wave^  and  not  the  rock; 

d.  o.  h.  1.  ind. 

'T  is  but  the  flapping  of  the  «a^7, 

a.l. 

And  not  a  rent  made  by  the  gale. 

h.  o.b. 

In  spite  of  rock  and  tempest  roar^ 

a.l. 

In  spite  of  false  lights  on  the  shore ^ 

h.  1. 

Sail  on^  HOT  fear  to  breast  the  sea. 

h.  f.  rep. 

Our  hearts,  our  hopes  are  all  with  thee  : 

b.  h.h.f.  b.  h.  a.f.  b.h.h.o. 

Our  hearts,  our  hopes,  our  prayers,  our  tears, 

b.h.h.o.  b.  h.a.  o.  b.  h.  a.  f.  b.  h.  d.  o. 

Out  faith  triumphant  o'er  our  fears, 

a.  f.  a.  1. 

Are  all  with  thee  —  are  all  with  thee. 

b.  h.h.f.  b.h.h.o. 


198  MAHTJAL  OF   GESTURE. 

MARCO   BOZZARIS. 

HALLECK. 

At  midnight,  in  his  guarded  tent^ 

h.l.ind. 

The  Turk  was  dreaming  of  the  hour, 

rep. 

When  Greece^  her  knee  in  suppliance  bent, 

h.  o.  d.  o. 

Should  tremble  at  his  power : 

rep. 

In  dreams^  through  camp  and  court,  he  bore 

h.  o. 

The  trophies  of  a  conqueror  ; 

a.  o. 

In  dreams  his  song  of  triumph  heard ; 

a.l. 

Then  wore  his  monarch's  signet  ring : 

h.  o. ind. 

Then  pressed  that  monarch's  throne  —  a  Mng  ; 

h.  o.  a.  o. 

As  wild  his  thoughts,  and  gay  of  wing^ 

a.l. 

As  Uden^s  garden  .bird. 

a.  o.  b. ind. 

At  midnight,  in  the  forest  shades, 

h.l. 

Bozzaris  ranged  his  Suliote  band 

h.  1.  ind. 

True  as  the  steel  of  their  tried  blades, 

h.  f.  rep. 

Heroes  in  heart  and  hand. 

a.  o.  d.  o. 

There  had  the  Persian's  thousands  stood, 

b.  h.  h.o. 

There  had  the  glad  earth  drunk  their  blood, 

b.  h.  d.  f. 

On  old  Plateaus  day : 

h.  o.  b. 

And  now  there  breathed  that  haunted  air 


SELECTIONS  FOR   PRACTICE.  199 


The  sons  of  sires  who  conquered  there, 

b.  h.  a.  o. 

With  arms  to  strike^  and  souls  to  dare^ 

h.o.cli.  a.o.cli. 

As  quick^  as  far  as  they. 

d.  o.  cli.        a.  o.  cli. 


An  hour  pass'd  on :  the  Turk  awoke  ; 

h.  h.  upl.  a.  o. 

That  bright  dream  was  his  last ; 

drop. 

He  woke  —  to  hear  his  sentries  shriek, 

h.  Kind. 

"  To  arms!  they  come!  the  Greek  !  the  Greek!'"* 

b.  h.h.f.  b.h.h.l.par.  rep. 

He  woke  —  to  die  midst  flame  and  smoke^ 

d.  o.  b.  h.  a.  o. 

And  shout,  and  groan,  and  sa6re-stroke, 

h.l.ind. 

And  death-^hot^  falling  thick  and  fast 

b.  h.  a.  o. 

As  lightnings  from  the  mountain  cloud  ; 

b.  h.  a.  f. 

And  heard,  with  voice  as  trumpet  loud, 

a.  1.  ind. 

Bozzaris  cheer  his  band  : 

h.l.ind. 

"  Strike  !  till  the  last  arm'd  foe  expires  ; 

h.f.cli.  d.f.cli. 

Strike  !  for  your  altars  and  your  fires  ; 

h.  f.  cli.  d.  o.  cli. 

Strike  !  for  the  green  graves  of  your  sires  ; 

h.f.cli.  h.l.cli. 

God,  and  your  native  land!'' 

h.i. 


They  fought  like  brave  men,  long  and  well; 

h.  o.  d.  o. 

They  piled  that  ground  with  Moslem  slain  ; 

d.  1.  p. 

They  conquered  ;  but  Bozzaris  fell^ 

ao.  d.  o.  p. 


200  MANUAL  OF   GESTURE. 

Bleeding  at  every  vein. 

b.h.d.o. 

His  few  surviving  comrades  saw 

h.o. 

His  smile,  when  rang  their  proud  hurrah  ! 

a.l. 

And  the  red  field  was  won; 

h.l. 

Then  saAv  in  death  his  eyelids  close, 

d.  o.  p. 

Calmly,  as  to  a  night's  repose^ 

d.l.p. 

Like  flowers  at  set  of  sun, 

rep. 

Come  to  the  bridal  chamber^  death ! 

b.  h.  h.  1.  par. 

Come  to  the  mother^  when  she  feels, 

h.l. 

For  the  first  time,  her  first-born's  breath; 

rep. 

Come  Avhen  the  blessed  seals 
That  close  the  pestilence  are  broke, 

b.h.d.o. 

And  crowded  cities  wail  its  stroke ; 

b.  h.h.  1. 

Come  in  consumption's  ghastly  form, 

h.  1.  ind. 

The  earthquake  shock,  the  ocean  storm ; 

b.  h.  d.  o.  b.  h.  h,  o. 

Come  when  the  heart  beats  high  and  warm, 

With  banquet-song,  and  dance,  and  wine^ 
h.l. 

And  thou  art  terrible  !  the  tear, 

a.  o.  V.  

The  groan,  the  knell,  the  pall,  the  bier  ; 

h.l. p. 

And  all  we  know,  or  dream,  or  fear  ^ 

b,  h.  a.  o,  V. 

Of  agony,  are  thine. 

b.  h.  a.  f. 


SELECTIONS   FOR   PRACTICE.  201 

But,  to  the  hero^  when  his  sword 

a.  I. 

Has  won  the  battle  for  the  free^ 

b.h.h.i. 

Thy  voice  sounds  like  a  prophet's  word, 

a.  o. 

And  in  its  hollow  tones  are  heard 
The  thanks  of  millions  yet  to  be. 

b.  h.  a.  o. 

Bozzaris  !  with  the  storied  brave, 
d.f. 
Greece  nurtured,  in  her  glory's  timey 

a.  o. 

Rest  thee  :  there  's  no  prouder  grave, 

b.  h.d.o.  a.  o. 

Even  in  her  own  proud  clime. 

a.  I. 

We  tell  thy  doom  without  a  sigh; 

h.l. 

For  thou  art  Freedom's  now,  and  Fame's  — 

a.  o.  a.  1. 

One  of  the  few,  the  immortal  names, 

h.  f.  a.  o. 

That  were  not  born  to  die. 

d.o. 


SPARTACUS  TO  THE  GLADIATORS. 

KELLOGG. 

It  had  been  a  day  of  triumph  in  Capua.  Lentulus, 
returning  with  victorious  eagles,  had  amused  the  pop- 
ulace with  the  sports  of  the  amphitheatre,  to  an  extent 
liitherto   unknown  even  in  that  luxurious  city.     The 

h.l. 

shouts  of  revelry  had  died  away ;  the  roar  of  the  lion 

d.l.  d.l.ind. 


202  MANUAL  OF   GESTURE. 

had  ceased ;    the  last   loiterer    had    retired   from  the 

drop. 

banquet^  and  the  lights  in  the  palace  of  the  victor  were 

l.h.  h.l.  l.h.a.o.b. 

extinguished.     The  moon^  piercing  the  tissue  of  fleecy 

1.  h.  d.  o.  b.  a.  f.  ind.  rep. 

clouds,  silvered  the  dew-drop  on   the  corselet  of  the 

h.  1. 

Roman  sentinel,  and  tipped  the  dark  waters  of  Vol- 

d.o.  p. 

turnus  with  wavy.,  tremulous  light.     It  was  a  night  of 
d.i.  p. 

holy  calm,  when  the  zephyr  sways  the  young  spring 

h.  1. 

leaves^  and  whispers  among  the  hollow  reeds  its  dreamy 

d  1. 

music.     No  sound  was  heard  but  the  last  sob  of  some 

h.l.  p. 

weary  wave^  telling  the    story  to  the  pebbles  of  the 

drop. 

beach,  and  then  all  was  still  as  the  breast  when  the 

d.  1.  h.  o.  p. 

spirit  has  departed. 

drop. 

In  the  deep  recesses  of  the  amphitheatre,  a  band  of 

b.h.h.o. 

gladiators  were  crowded  together  —  their  muscles  still 

b.  h.  h.  f. 
knotted  with  the  agony  of  conflict,  the  foam  upon  their 

d.o.cli.  h.  f.  ind. 

lips,  and  the  scowl  of  battle  yet  lingering  upon  their 

b.  h.  h.  f. 

brows  —  when  Spartacus,  rising  in  the  midst  of  that 

h.  o. 

grim  assemblage,  thus  addressed  them  : 

rep. 

"  Ye  call  me  chief;  and  ye  do  well  to  call  him  chief, 

h.  o.  d.  o. 

who  for  twelve  long  years  has  met  upon  the  arena 
every  shape  of  man  or  beast  the  broad  empire  of  Borne 


SELECTIONS   FOR   PRACTICE.  203 

could  furnish,  and  who  never  yet  lowered  his  arm.     If 

d.o. 

there  be  one  among  you  who  can  say,  that  ever  in  public 

h.o. 

fight  or  private  brawls  my  actions  did  belie  my  tongue^  let 

d.o.  h.o. 

him  stand  forth,  and  say  it.     If  there  be  three  in  all  your 

h.  f.  h.  o. 

company  dare  face  me  on  the  bloody  sands,  let  them 

h.o.  h.f. 

come  on.     And  yet  I  was  not  always  thus  —  a  hired 

b.  h.  h.  f. 

butcher^  a  savage  chief  of  still  more  savage  men ! 

d.l.  h.l. 

"  My  ancestors  came  from  old  Sparta^  and  settled 

h.o.  b. 

among  the  vine-clad  rocks  and  citron  groves  of  Cyra- 

h.i. 

cella.     My  early  life  ran  quiet  as  the  brooks  by  which  I 

h.  o. 

sported ;  and  when,  at  noon,  I  gathered  the  sheep  be- 

d.i. 

neath  the  shade,  and  played  upon  the  shepherd's  flute, 

h.l.  rep. 

there  was  a  friend,  the  son  of  a  neighbor,  to  join  me  in 

h.o.  rep.  d.o. 

the  pastime.     We  led  our  flocks  to  the  same  pasture, 

h.  1. 

and  partook  together  our  rustic  meal. 

d.o. 

"  One  evening,  after  the  sheep  were  folded,  and  we 
were  all  seated  beneath  the  myrtle  which  shaded  our 

b.h.d.o. 

cottage,  my  grandsire,  an  old  man,  was  telling  of  Mara- 

h.  o. 

then,  and  Leuctra;  and  how,  in  ancient  times,  a  little 

h.l.  h.o.  b. 

band  of  Spartans,  in  a  defile  of  the  mountains,  had 

h.l. 

withstood  a  whole  army.     I  did  not  then  know  what 

b.h.  h.l. 


204  MANUAL   OF   GESTUEE. 


war  was  ;  but  my  cheeks  hurned  ;  I  knew  not  why^  and 

d.  o.  rep.  d.  1. 

I  clasped  the  knees  of  that  venerable  man,  until  my 

b.  h.  d.  f. 

mother^  parting  the  hair  from  off  my  forehead,  kissed 

h.  o.  h.l.p.  h.o. 

my  throbbing  temples,   and  bade  me  go  to  rest^  and 

d.l. 

think  no  more  of   those    old   tales  and  savage  wars. 
That  very  nighty  the  Romans  landed  on  our  coast.     I 

h.  o.  ind.  h.  1. 

saw  the  breast  that  had  nourished  me  trampled  by  the 

h.o.  d.  o.  p. 

hoof  of  the  war-horse  ;  the  bleeding  body  of  mj  father 

h.o. 

flung  amid  the  blazing  rafters  of  our  dwelling/ 

a.  1. 

"  To-day  I  killed  a  man  in  the  arena ;  and  when  I 

d.o. 

l)roke  his  helmet-clasps,  behold/  he  was  mj  friend.     He 

h.  o.  r.  h.  a.  o.  upl.  d.  o. 

knew  me,  smiled  faintly,  gasped,  and  died  —  the  same 

d.o. 

sweet  smile  upon  his  lips  that  I  had  marked,  when,  in 

h.o. 

adventurous  boyhood,  we  scaled  the  lofty  cliff  to  pluck 

h.l.  a.l. 

the  first  ripe  grapes,  and  bear  them  home  in  childish 

rep.  h.  1. 

triumph !     I  told  the  praetor  that  the  dead  man  had 
been  my  friend,  generous  and   brave ;   and  I  begged 

h.  o.  d.  o. 

that  I  might  bear  away  the  body,  to  burn  it  on  Si  funeral 

h.  1.  a.  1. 

pile,  and  mourn  over  its  ashes.     Ay !  upon  my  knees, 

b.  h.  d.  f. 

amid  the  dust  and  blood  of  the  arena,  I  begged  that 

rep. 

poor  boon,  while  all  the  assembled  maids  and  matrons^ 

b.h.h.o. 


SELECTIONS  FOR   PRACTICE.  205 

and  the  holy  virgins  they  call  Vestahy  and  the  rabble^ 

rep.  b.  h.  d.  o. 

shouted  in  derision  deeming  it  rare  sport,  forsooth,  to 

b.h.h.  1.  h.l. 

see  Rome's  fiercest  gladiator  turn  pale  and  tremble  at 

h.o.  ind.  d.o.  ind. 

the  sight  of  that   piece  of  bleeding  clay  !     And  the 

praetor  drew  back  as  I  were  pollution,  and  sternly  said, 
h.l.  d.i. 

*  Let    the    carrion  rot;    there  are    no    noble  men  but 

d.  o.  b.  h.  o. 

Romans  ! '     And  so,  fellow-gladiators,  must  you,  and  so 

d  o.  b.  h.  h.  o.  rep. 

must  /,  die  like  dogs. 
h.f.  d.i. 

"  O,  Rome  !  Home  !  thou  hast  been  a  tender  nurse  to 

b.  h.  h.o.  d.o. 

me!  Ay !  thou  hast  given,  to  that  poor,  gentle,  timid 
shepherd  lad,  who  never  knew  a  harsher  tone  than  a 
flute-note,  muscles  of  iron  and  a  heart  oi  flint ;  taught 

h.l.  b.  h.d.f.  cli.  r.  h.  on  heart,  cli. 

him  to  drive  the  sword  through  plaited  mail  and  link;, 
of  rugged  brass,  and  warm  it  in  the  marrow  of  his  foe  ; 

b.  h.d.o.  cli.  d.o.  cli. 

to  gaze  into  the  glaring  eye-balls  of  the  fierce  Numidian 
lion,  even  as  a  boy  upon  a  laughing  girl !    And  he  shall 

h.f.  h.l. 

pay  thee  back,  until  the  yellow  Tiber  is  red  as  frothing 

d.  f.  cli. 

wine,  and  in  its  deepest  ooze  thy  life-blood  lies  curdled  I 

rep.  rep. 

"  Ye  stand  here,  now,  like  giants,  as  ye  are  !     The 

b.h.h.o. 

strength    of   6ra8«-toughened   sinews ;    but  to-morrow, 

d.o.  cli.  h.o. 

some  Roman  Adonis,  breathing  sweet  perfume  from  his 
h.  1. 


206  MANUAL   OF   GESTURE. 

curly  locks^  shall,  with  his  lily  fingers,  pat  your  red 

d-l-  h.  o.p. 

brawn,  and  bet  his  sesterces  upon  your  blood.     Hark ! 

d.  1.  h.l.ind. 

hear  ye  yon  lion  roaring  in  his  den  ?     'T  is  three  days 

rep.  d.  o. 

since  he  tasted  flesh ;  but  to-morrow  he  shall  break  his 

h.o. 

fast  upon  yours — and  a  dainty  meal  for  him  ye  will  be  ! 

d.o.  d.l. 

"  If  ye  are  beasts,  then  stand  here  like  fat  oxen,  wait- 

d.  o.  h.o. 

ing  for  the  butcher's  knife  !     If  ye  are  men,  follow  me ! 

h.l.ind.  h.f.  h.o. 

Strike  down  yon  guard,  gain  the  mountain  passes,  and 

h.  1  ind.  a.  1. 

there  do  bloody  work,  as  did  your  sires  at  old   Ther- 

d.o.cli.  h.l. 

mopylcef  Is  Sparta  deadf   Is  the  old  Grecian  ^^ixit  frozen 

h.o.  d.o. 

in  your  veins,   that  ye   do   crouch  and    cower  like  a 
belabored  hound  beneath  his  master's  lash  ?     O,  com- 

h.l.ind. 

rades  !  warriors!  Thracians ! — if  we  must  fight,  let  us 

b.h.  h.o.  b.  h.h.l.  b.  h.  h.  o. 

fight    for    ourselves!     If  we    must    slaughter,    let    us 

b.h.  d.o.  b.h.  h.o. 

slaughter  our  oppressors!     If   we  must  die,  let  it  be 

b.  h.  d.  o.  rep. 

under  a   clear    sky,    by   the    bright    waters,    in    noble, 

b.  h.a.  o.  b.h.  d.o.  b.  h.  h.  o. 

honorable  battle!'' 


PARRHASIUS. 

WILLIS. 

Parrhasius  stood,  gazing  forgetfully 
Upon  his  canvass.     There  Prometheus  lay, 

h.  f.  ind. 


SELECTIONS  FOR  PRACTICE.  207 

Chained  to  the  cold  rocks  of  Mount  Caucasus, 
The  vultures  at  his  vitals,  and  the  links 

h.  f.  V. 

Of  the  lame  Lemnian/es^^rm^  in  his  flesh  ; 

h.l.p. 

And,  as  the  painter's  mind  felt  through  the  dim, 
Rapt  mystery^  and  plucked  the  shadows  wild 

h.  o.  p. 

Forth  with  his  reaching /awc^,  and  with  form 

a.  o. 

And  color  clad  them,  his  fine,  earnest  eye^ 

h.  f.  p.  h.  o.  ind. 

Flashed  with  a  passionate  fire^  and  the  quick  curl 

a.  o.  ind.  rep. 

Of  his  thin  nostril,  and  his  quivering  lip, 

Were  like  the  winged  god's^  breathing  from  his  flight. 

a.  o.  ind. 

"  Bring  me  the  captive  now  ! 

h.l.  ind. 

My  hand  feels  skillful^  and  the  shadows  lift 

h.  o.  r.  h.  upl. 

From  my  waked  spirit  airily  and  swift ; 

a.  o.  V. 

And  I  could  paint  the  bow 
Upon  the  bended  heavens ;  around  me  play 

a.  o. 

Colors  of  such  divinity  to-day. 

a.  1. 

"  Ha!  bind  him  on  his  hack! 

r.  h.  upl.  d.  o.  p. 

Look  !  as  Prometheus  in  my  picture  here  ! 

h.f.  ind.  rep. 

Quick!  or  he  faints!  stand  with  the  cordial  near! 

r.  h   upl.  d.o.ind.  h.  1.  ind. 

Now,  bend  him  to  the  rack! 

d.f.ind. 


208  MANUAL  OF  GESTURE. 

Press  down  the  prisoned  links  into  his  flesh ! 

d.  f.  p. 

And  tear  agape  that  healing  wound  afresh  ! 

d.l. 

^''  So!  let  him  writhe  !     How  long 

d.l.  p. 

Will  he  live  thus  ?     Quick,  my  good  pencil,  now 

d.  f.  h.  f.  ind. 

What  a  fine  agon^  works  upon  his  brow ! 

d.o. 

lla  !  grey -haired,  and  so  strong  ! 

r.  h.  upl. 

How  fearfully  he  stifles  that  short  moan  ! 

d.  o.  p. 

G-ods  !  if  I  could  but  paint  a  dying  groan  ! 

r.  h.  upl.  a.  o.  h.  f. 

"  '  Pity  '  thee  ^  ^ol  do; 

d.o.  rep. 

I  pity  the  dumb  victim  at  the  altar  ; 

h.l.ind. 

But  does  the  robed  priest  for  his  pity  falter  ? 

h.l. 

I  'd  rack  thee,  though  I  knew 

d.  o.  ind. 

A  thousand  lives  were  perishing  in  thine ; 

d.  o.  cli. 

What  were  ten  thousand  to  a  fame  like  mine  ? 

d.l. 

"  Ah !  there  's  a  deathless  name  ! 

a.  o. 

A  spirit  that  the  smothering  vault  shall  spurn, 

d.  1.  ind. 

And,  like  a  steadfast  planet,  mount  and  hum  ; 

a.  o.  ind. 

And  though  its  crown  of  flame 
Consumed  my  brain  to  ashes  as  it  won  me  ; 

d.  o.  p. 

By  all  the  fiery  stars  I  I  'd  pluck  it  on  me  ! 

b.  h.  upl.  b.h.h.f.cli. 


SELECTIONS  FOR  PRACTICE.  209 

"  Ay,  though  it  bid  me  rifle 
My  heart's  last  fount  for  its  insatiate  thirst ; 

r.  h.  on  heart,  cli. 

Though  every  life-strung  nerve  be  maddened  first ; 

b.  h.d.f.cli. 

Though  it  should  bid  me  stifle 
The  yearning  in  ray  throat  for  my  sweet  child, 

r.  h.on  throat,  cli. 

And  taunt  its  mother  till  my  brain  went  wild  ! 

d.  1.  d.  o.  cli. 

''  All !  I  would  do  it  all, 

b.  h.  d.  o.  cli. 

Sooner  than  die  like  a  dull  worm^  to  rot ; 

d.l.ind.  rep. 

Thrust  foully  in  the  earth  to  he  forgot, 

d.  o.  p.  d.l.  p. 

Oh  heavens  !  but  I  appall 

r.  h.  upl. 

Your  hearty  old  man  !  forgive  —  ha  !  on  your  lives 

d.f.  rep.  r.  h.upl.  d.  o. 

Let  him  not  faint !  rack  him  till  he  revives  I 

d.o. 

"  Vain  —  vain — give  o'er.     His  eye 

r.  h.upl.         d.l.  p.  d.o.  b.  p.  d.  o.  ind. 

Glazes  apace.     He  does  not  feel  you  now. 

drop. 

Stand  hack!   I  '11  paint  the  death  dew  on  his  brow! 

d.  1.  p.  d.  o.  ind. 

Gods  !  if  he  do  not  die 

r.  h.  upl.  a.  o. 

But  for  one  moment  —  one — till  I  eclipse 

d.  o.  ind.  rep. 

Conception  with  the  scorn  of  those  calm  lips  ! 

a.  o.  d.o. 

"  Shivering  I     Hark  !  he  mutters 

r.  h.  upl.  a.  o.  a.  1.  ind.  d.o.  ind. 

Brokenly  now  ;  that  was  a  difficult  breath ; 

d.  o.  ind. 


21  d  MAiTtrAL  0^  GESTTTRfi. 

Another  f    Wilt  thou  never  come,  oh,  Death? 

r.  h.  upl.  d.  o. 

Look!  how  his  temple  flutters! 

d. o. ind. 

Is  his  heart  still  f    Aha!  lift  up  his  head! 

d.  o.  r.  h.  upl.  d.  o. 

He  shudders — gasps — Jove  help  him — so  he  's  dead  ! 

d.  o.  p.  r.  h.  upl,     rep.,  but  higher.  drop. 

How  like  a  mounting  devil  in  the  heart 

d.f. 

Rules  this  unreined  ambition  !    Let  it  once 

d.o. 

But  play  the  monarchy  and  its  haughty  brow 

h.  o. 

Glows  with  a  beauty  that  bewilders  thought 

ho.p.  f 

And  unthrones  peace /orei^er.     Putting  on 

d.  1. 

The  very  pomp  of  Lucifer^  it  turns 

a.  o. 

The  heart  to  ashes^  and  with  not  a  spring 

d.o. 

Left  in  the  desert  for  the  spirit's  lip^ 

d.l.  h.o. 

We  look  upon  our  splendor^  and  forget 

a.  o. 

The  thirst  of  which  we  perish  ! 

d.o. 


THE  BURIAL  OF  SIR  JOHN  MOORE. 

WOLFE. 

Not  a  drum  was  heard,  not  a  funeral  note^ 

h.  o.  ind.  d.o.  ind. 

As  his  corse  to  the  rampart  we  hurried ; 

h.  1. 

Not  a  soldier  discharged  his  farewell  shot 

d. o. ind. 

O'er  the  grave  where  our  hero  we  buried. 


SELECTIOI^S  FOR  PRACTICE.  211 

We  buried  him  darkly  at  dead  of  nighty 

h.l.  imp. 

The  sods  with  our  bayonets  turning ; 

d.  o. 

By  the  struggling  moon-beams  misty  light, 

a.  o. 

And  the  lantern  dimly  burning. 

d.  1.  ind 


No  useless  coffin  enclosed  his  breast, 

d.l. 

Nor  in  sheet  nor  in  shroud  we  wound  him ; 

b.  h.d.o. 

But  he  lay  like  a  warrior  taking  his  rest^ 

d.f. 

With  his  martial  cloak  around  him. 

b.h.d.f. 


Few  and  short  were  the  prayers  we  said ; 

h.l. 

And  we  spake  not  a  word  of  sorrow  ; 

d.l. 

But  we  steadfastly  gazed  on  the  face  of  the  dead, 

b.h.d.f. 

As  we  bitterly  thought  of  the  morrow, 

h.f. 


We  thought,  as  we  hollowed  his  narrow  bed^ 

b.  h.  d.  f. 

And  smoothed  down  his  lonely  pillow, 

b.  h.  d.  o.  p. 

That  the/(9g  and  the  stranger  would  tread  o'er  his  head, 

h.o.  hi. 

And  we  far  away  on  the  billow. 

h.o.  b. 


Lightly  they  '11  talk  of  the  spirit  that 's  gone, 

h.  I. 

And  o'er  his  cold  ashes  upbraid  him ; 

d.  o. 
10 


212  MANUAL  OF   GESTURE. 

But  little  he  11  reck,  if  they  let  him  sleep  on 

d.i.  ^ 

In  the  grave  where  a  Briton  has  laid  him. 


d.o. 


But  half  of  our  heavy  task  was  done, 

d.  o. 

When  the  clock  struck  the  hour  for  retiring ; 

a.  I. 

And  we  heard  the  distant  and  random  gun 

h.  I.  ind. 

That  the  foe  was  sullenly  firing. 

imp. 

Slowl}^  and  sadly  we  laid  him  down, 

b.  h.  d.  f. 

From  the  field  of  his  fame  fresh  and  govt/  : 

rep. 

We  carved  not  a  line,  we  raised  not  a  stone, 

d.  o.  ind  h.o.  ind. 

But  we  left  him  alone  in  his  glory. 

d.  o. 


HOHENLINDEN. 

CAMPBELL. 

On  Linden,  when  the  sun  was  low, 

h.o.  ind.  h.l.  ind. 

All  bloodless  lay  the  untrodden  snow; 

d.l.p. 

And  dark  as  winter  was  the  flow 
Of  Iser,  rolling  rapidly. 

d.  1. 


But  Linden  saw  another  sight, 

h.o. 

When  the  drum  beat  at  dead  of  night, 


SELECTIONS  FOB   PRACTICE.  213 


Commanding  fires  of  deaths  to  light 

b.  h.d.f.        b.  h.a.o. 

The  darkness  of  her  scenery. 

By  torch  and  trumpet  fast  arrayed^ 

b.  h.  h.o 

Each  horseman  drew  his  battle  blade, 

h.  o. ind. 

And  furious  every  charger  neighed 

b.  h.  h.  o. 

To  join  the  dreadful  revelry. 

b.  h.  h.  f, 


Then  shook  the  hills  with  thunder  riven, 

b.  h.  a.  o. 

Then  rushed  the  steed  to  battle  driven, 

b.h.  h.f. 

And  louder  than  the  bolts  of  Heaven, 

b.  h.  a.  o. 

Far  flashed  the  red  artillery. 

b.  h.a.  1. 


And  redder  yet  those  fires  shall  glow, 

h.o. 

On  Linden's  hills  of  blood-stained  snow ; 
And  darker  yet  shall  be  the  flow 

d.  o.  p. 

Of  Iser  rolling  rapidly. 

d.l. 


'T  is  morn,  but  scarce  yon  lurid  sun 

h.  f.  ind. 

Can  pierce  the  war-clouds,  rolling  dun, 

imp. 

When  furious  Frank,  and  fiery  ffun, 

b.  h.  h.  o. 

Shout  in  their  sulphurous  canopy. 

b.  h  a  o. 


2l4  MANUAL  OT  GESTURE. 


The  combat  deepens.      On,  ye  brave, 

b.  h.  h.o.         b.  h.h.f. 

Who  rush  to  glo?^  or  the  grave  ! 

b.  h.  a.  o.  b.  h.  d.  1. 

Wave,  Munich !  all  thy  banners  wave, 

h  1.  b.h.h.  1. 

And  charge  with  all  thy  chivalry  ! 

b.  h.h.f. 


Ah  !  few  shall  part  where  many  meet 

h.  o.  p.  b.  h.  h.  o. 


P- 

The  snow  shall  be  their  winding  sheet, 

b.h.  d.  o.  p. 

And  every  turf  beneath  their /ee^ 

b.h.d.o. 

Shall  be  a  soldier's  sepulchre. 

b.h.d.f. 


CHARACTER  OF  NAPOLEON  BONAPARTE. 

CHANGING. 

To  bring  together  in  a  narrower  compass  what  seem 
to  us  the  great  leading  features  of  the  intellectual  and 
moral  character  of  Napoleon  Bonaparte,  we  may  remark 
that  his  intellect  was  distinguished  by  rapidity  of 
thought.     He  understood  by  a  glance  what  most  men, 

h.  o.  ind.  h.  o. 

and  superior   men,    could    only  learn    by  study.     He 

d.  o. 

darted  to  a  conclusion  rather  by  intuition  than  reason- 

h.  f.ind.  h.f. 

ing.     In  war,  which  was  the  only  subject  of  which  he 
was  master,  he  seized  in  an  instant  on  the  great  points 

h.o.  h.f. 

of  his  own  and  his  enemy's  positions ;  and  combined  at 

b.  h.h.f. 


SELECTIONS   FOR  PRACTICE.  215 

once  the  movements  by  which  an  overpowering  force 
might  be  thrown  with  unexpected /wry  on  a  vulnerable 

b.h.d.f. 

part  of  the  hostile  line,  and  the  fate  of  an  army  be 
decided  in  a  day.    He  understood  war  as  a  science  ;  but 

d.o.  h.o. 

his  mind  was  too  bold^  rapid,  and  irrepressible^  to  be 

h.  f.  d.  f. 

eyislaved  by  the  technics  of  his  profession.     He  found 

d.o. 

the  old  armies  fighting  by  rule  ;  and  he  discovered  the 

h.  f. 

true  characteristic  of  genius,  which,  without  despisii 
rules,  knows  when  and  how  to  break  them.    He  under- 

d.o. 

stood  thoroughly  the  immense  moral  power  which  is 

b.  h.  h.o. 

gained  by  originality  and  rapidity  of  operation.      He 

b.h.d.o. 

astonished  and  paralysed  his  enemies  by  his  unforeseen 

h.l.p. 

and  impetuous  assaults,  by  the  suddenness  with  which 

b.h.h.o. 

the  storm  of  battle  burst  upon  them  ;  and,  whilst  giving 
to   his  soldiers  the  advantages  of   modern  discipline, 

h.o. 

breathed  into  them,  by  his  quick  and  decisive  move- 
ments, the  enthusiasm  of  ruder  ages.     This  power  of 

,  a.  o.  b. 

disheartening  the  foe,  and  of  spreading  through  his  own 

d.i. 

ranks  a  confidence,    and   exhilarating  courage,  which 

b.  h.  a.  o. 

made  war  a  pastime,  and  seemed  to  make  victory  sure, 

h.i.  h.f. 

distinguished  Napoleon  in  an  age  of  uncommon,  military 

h.  o. 


216  MANUAL  OF   GESTUBE. 

talent,   and  was  one  main  instrument   of  his    future 
'power. 

d.  o. 

The  wonderful  effecU  of  that  rapidity  of  thought  by 

h.  f. 

which  Bonaparte  was  marked,  the  signal  success  of  his 

h.o. 

new  mode  of  warfare,  and  the  almost  incredible  speed 
with  which  his  fame  was  spread  through  nations^  had 

h.l. 

no  small  agency  in  fixing  his  character,  and  determining 

h.f. 

for  a  period  the  fate  of  empires.     These  stirring  influ- 

b.h.d.o. 

ences  infused  a  new  consciousness  of  his  own  might. 

d.  o. 

They  gave  intensity  and  audacity  to  his  ambition  ;  gave 

h.o. 

form  and  substance  to  his  indefinite  visions  of  glory^ 

a.  o. 

and  raised  his  fiery  hopes  of  empire.     The  burst  of 

b.  h.  a.  o. 

admiration  which  his  early  career  called  forth,  must,  in 

b.h.h.l. 

particular,  have  had  an  influence  in  imparting  to  his 
ambition  that  modification  by  which  it  was  characterised, 

b.  h.d.o. 

and  which  contributed  alike  to  its  success  and  to  its  fall. 

h.o.  d.o. 

He  began  with  astonishing  the  world ;  with  producing 

b.h.h.l. 

a  sudden  and  universal  sensation^  such  as  modern  times 

rep. 

had  not  witnessed.     To  astonish,  as  well  as  to  swag,  by 

b.  h.d.o.  h.o.  h.l.  p. 

his  energies,  became  the  great  aim  of  his  life.     Hence- 

d.o. 

forth  to  rule  Avas  not  enough  for  Bonaparte.    He  wanted 

d.i. 


SELECTIONS  FOR   PRACTICE.  217 

to  amaze,  to  dazzle,  to  overpower  men's  souls,  by  striking, 

r.  h.  upl.  h.o.  p.  b.  h.  d.  1. 

hold,  magnificent,  and  unanticipated  results.    To  govern 

b.h.h.f.  b.  h.d.o. 

ever  so  absolutely  would  not  have  satisfied  him,  if  he 

h.l.  d.o. 

must   have   governed   silently.      He   wanted   to    reign 

d.l. 

through  wonder  and  awe^  by  the  grandeur  and  terror  of 

r.  h.upl.  h.  o.  p. 

his  name,  by  displays  of  power  which  would  rivet  on 
h.f. 

him    every  eye,  and    make   him    the    theme  of  every 

b.h.h.f. 

tongue.     Power  was  his  supreme  object ;  but  a  power 

b.h.h.l.  h.o. 

which  should  be  gazed  at  as  well  as  felt,  which  should 

h.f.  h.o. 

strike  men  as  a  prodigy,  which  should  shake  old  thrones 

d.  o. 

as  an  earthquake,  and,  by  the  suddenness  of  its  new 

b.  h.d.o. 

creations,  should  awaken  something  of  the  submissive 
wonder  which  miraculous  agency  inspires. 

r.  h.upl.  a.  o. 

Such  seems  to  us  to  have    been  the  distinction  or 

h.o. 

characteristic  modification  of  his  love  of  fame.     It  was 

rep. 

a  diseased  passion  for  a  kind  of  admiration,  which,  from 
the  principles  of  our  nature,  cannot  be  enduring,  and 

h.l. 

which    demands   for  its   support  perpetual  and  more 
stimulating  novelty.   Mere  esteem  he  would  have  scorned. 

d.o.  h.l.  V. 

Calm  admiration,  though  universal  and  enduring,  would 
Wve  been  insipid.     He  wanted  to  electrify  and  over- 

d.o.  b.h.a.f. 


218  MANUAL  OF   GESTURE. 

whelm.    He  lived  for  effect.    The  world  was  his  theatre; 

b.h.d.o.p.  d.o.  h.  1. 

and  he  cared  little  Avhat  part  he  played,  if  he  might 

d.i. 

walk  the  sole  hero  on  the  stage,  and  call  forth  bursts  of 

a.  o. 

applause  which  would  silence  all  other  fame.     In  war, 

b.  h.  a.  o.  b.  h.  d.  o.  p. 

the  triumphs  which  he  coveted  were  those  in  which  he 
seemed  to  sweep  away  his  foes  like  a  whirlwind ;  and 

b.  h.  h.  1.  V.  par. 

the    immense   and   unparalleled    sacrifice    of    his    own 

b.h.d.i. 

soldiers,  in  the  rapid  marches  and  daring  assaults  to 
which  he  owed  his  victories,  in  no  degree  diminished 

d.o. 

their  worth  to  the  victor.     In  peace,  he  delighted  to 
hurry  through  his  dominions  ;  to  multiply  himself  by  his 

h.l.  b.h.h.o. 

rapid  movements ;  to  gather  at  a  glance  the  capacities 

h.  o.  ind. 

of  improvement  which  every  important  place  possessed  ; 

b.h.d.o. 

to  suggest  plans  which  would  startle  by  their  originality 

r.  h.  upl. 

and  vastness ;  to  project,  in  an  instant^  works  which  a 

h.l.  h.f. 

life  could    not    accomplish,  and  to  leave    behind  the 

h.l. 

impression  of  a  superhuman  energy. 

d.o. 

Our  sketch  of  Bonaparte  would  be  imperfect  indeed, 
if  we  did  not  add,  that  he  was  characterised  by  nothing 
more  strongly  than  by  the  spirit  of  self -exaggeration. 

b.h.h.o. 

The  singular  energy  of  his  intellect  and  will,  through 

h.  o. 


SELECTIONS  FOR   PRACTICE.  219 

which  he  had  mastered  so  many  rivals  and  /oe«,  and 

h.l. 

overcome  what  seemed  insuperable  obstacles,  inspired  a 

b.h.h.f. 

a  consciousness  of  being  something  more  than  man. 

b.h.d.o. 

His  strong  original  tendencies  to  pride  and  self-exalta- 

h.  o. 

tion^  fed  and  pampered  by  strange    success  and  un- 
bounded applause^  swelled  into  an  almost  insane  con- 
fa.  h.h.i. 

viction  of  superhuman  greatness.     In  his  own  view,  he 

b.  h.  a.  o. 

stood  apart  from  other  men.    He  was  not  to  be  measured 

h.l.  h.o. 

by  the  standard  of  humanity.    He  was  not  to  be  retarded 

rep. 

by  difficulties,  to  which  all  others  yielded.     He  was  not 

h.l.  h.o. 

to  be  subjected  to  laws  and  obligations  which  all  others 
were  expected  to  obey.  Nature  and  the  human  will 
were  to  bend  to  his  power.     He  was  the   child  and 

d.o. 

favorite  oi fortune  ;  and,  if  not  the  lord^  the  chief  object 

h.o.  h.l.  d.o. 

of  destiny.  His  history  shows  a  spirit  of  self-exaggera- 
tion unrivalled  in  enlightened  ages,  and  which  reminds 

d.o. 

us  of  an  Oriental  king  to  whom  incense  had  been  burnt 

h.o.b. 

from  his  birth  as  to  a  deity.     This  was  the  chief  source 

d.o. 

of  his  crimes.     He  wanted  the  sentiment  of  a  common 

d.f. 

nature  with  his  fellow-beings.     He  had  no  sympathies 

h.o.  d.l. 

with  his  race.     That  feeling  of  brotherhood^  which  is 

h.o. 


220  MANUAL   OF   GESTUBE. 

developed  in  truly  great  souls  with  peculiar  energy,  and 

rep. 

through  which  they  give  up  themselves  willing  victims, 

b.h.d.o. 

joyful  sacrifices^  to  the  interests  of  mankind,  was  wholly 

rep. 

unknown  to  him.     His  heart,  amidst  all  its  wild  heatings^ 

b.  h.  d.  1.  h.  o.  rep. 

never  had  one  throh  of  disinterested  love.     The  ties 

h.l. 

which  bind  man  to  man  he  broke  asunder.     The  proper 
b.  h.  h.  f.  b.h.d.  1. 

happiness  of  a  man,  which  consists  in  the  victory  of 
moral  energy  and  social  affection  over  the  selfish  pas- 

a.  o. 

sions,  he  cast  away  for  the  lonely  joy  of  a  despot.    With 

d.l.  h.l.ind. 

powers  which  might  have  made  him  a  glorious  repre- 
sentative and  minister  of  the  beneficent  Divinity^  and 

a.  o. 

with  natural  sensibilities  which  might  have  been  exalted 
into  sublime  virtues^  he  chose  to  separate  himself  from 

b  h  a.  o.  h.  1.  V. 

his  kind  —  to  forego  their  love,  esteem,  and  gratitude 

d.l. 
—  that  he  might  become  their  gaze^  their  fear^  their 

h.  f  h.  o.  V. 

wonder ;  and  for  this  selfish,  solitary  good,  parted  with 

h.l.  h.f. 

peace  and  imperishable  renown. 

d.  o. 


BERNARDO  DEL  CARPIO. 

MRS.  HEMANS. 

The  warrior  lowed  his  crested  head,  and  tamed  his  heart 

of  fire,    "'"P-  '•°'^- 

And  sued  the  haughty  king  to  free  his  long-imprisoned 

h.o. 

Sire ; 


SELECTIONS   FOR   PRACTICE.  221 

'*  I  bring  thee  here  my  fortress-kejs,  I  bring  my  captive 
train,  ^'  ^' 

h.o. 

I  pledge  thee  faith,  my  liege,  my  lord  I  —  01  break  my 

d.f.  b.h.h.f.cla. 

father's  chain ! " 
'*  Ilise,  rise !   even  now  thy  father  comes,  a  ransomed 

r.  h.upl.  d.f.  d.o. 

man,  this  day ! 
Mount  thy  good  horse  ;  and  thou  and  I  will  meet  him 

on  his  way."     '  "  *'•'• 

Then  lightly  rose  that  loyal  son,  and  hounded  on  his 

steed,  ^■°- 

And  urged,  as  if  with  lance  in  rest,  the  charger's  foamy 
h.f. 

speed. 
And  lo !  from  far,  as  on  they  pressed,  there  came  a 

h.  f.  ind.  h.  f. 

glittering  band, 

h.o. 

With  one  that  'midst  them  stately  rode,  as  a  leader  in 

the  land;  ^•°- 

"  Now  haste,  Bernardo,  haste  !  for  there,  in  very  truth, 

h.  f.  rep.  rep. 

is  he. 
The  father  whom  thy  faithful  heart  hath  yearned  so 

rep. 

long  to  see." 
d.f. 

His  dark  eye  flashed,  his  proud  breast  heaved,  his  cheek's 

h.  o.  ind.  h.o. 

hue  came  and  went  ; 
h.i. 

He  reached  that  gray-haired  chieftain's  side,  and  there, 

dismounting,  bent;  ^'°' 

d.o. 


222  MANUAL  OF  GESTURE. 

A  lowly  knee  to  earth  he  bent,  his  father's  hand  he 

d.o. 

took  — 

h.o. 

What  was  there  in  its  touch  that  all  his  fiery  spirit 

d.o. 

shook  ? 


That  hand  was  cold — a  frozen  thing  —  it  dropped  from 

h.  o.  p.  rep,  drop. 

his  like  lead ! 
He  looked  up  to  the  face  above  —  the  face  was  of  the 

dead ! 
A  plume  waved  o'er  the  noble  brow  —  the  brow  was 

a.  o. 

fixed  and  white ; 

r.  h.  upl. 

He  met^  at  last,  his  father's  eyes  —  but  in  them  was  no 

h.  o.  drop. 

sight ! 


Up  from  the  ground  he  sprang  and  gazed;  but  who 

r.  h.  upl.  h.  f. 

could  paint  that  gaze  ? 

d.  o. 

They  hushed  their  very  hearts^  that  saw  its  horror  and 

amaze—  ^^P' 

They  might  have  chained  him,  as  before  that  stony 

form  he  stood ;     ^-  °' 
For  the  power  was  stricken  from  his  arm,  and  from  his 

lip  the  blood.       '^'■^p- 


"  Father!^'  at  length  he  murmured  low,  and  wept  hke 

r.  h.  upl. 

childhood  then : 

d.o. 


SELECTIONS  FOR  PRACTICE.  223 

Talk  not  of  grief  till  thou  hast  seen  the  tears  of  warlike 

men ! 
He  thought  on  all  his  glorious  hopes ^  and  all  his  young 

renown  — 

a.l. 

He  flung  his  falchion  from  his  side,  and  in  the  dust  sat 
down.  ''•'•  ^'''^ 

Then  covering  with  his  steel-gloved  hand  his  darkly- 
mournful  brow, 

"  No  more,  there  is  no  more,"  he  said,  "  to  lift  the  sword 
for,  now ; 

My  king  is  false  —  my  hope  betrayed  !    My  father  —  O  I 

d.O.  d.  1. 

the  worthy 

r.  h.  upl. 

The  glory,  and  the  loveliness  are  passed  away  from 
earth !  ^"-"p- 

"  I  thought  to  stand  where  banners  waved,  my  sire, 

beside  thee  yet !  *•  **' 

I  would  that  there  our  kindred  blood  on  Spain's  free 

soil  had  met !  ""■  '■ 

Thou  wouldst  have  known  my  spirit^  then  —  for  thee 

my  fields  were  won ;  ''•  °'  "p* 

And  thou  hast  perished  in  thy  chains,  as  though  thou 

drop. 

hadst  no  son !  '* 
Then,  starting  hom.  the  ground  once  more,  he  seized  the 

r.  h.  upl.  a.  f.  cli. 

monarch's  rein. 
Amid  the  pale  and  wildered  looks  of  all  the  courtier 
train; 


224  MANUAL  OF  GESTURE. 

And,  with  a  fierce,  o'ermastering  grasp^  the  rearing 

war-horse  led,  ''^^" 

And  sternly  set  them  face  to  face  —  the  king  before  the 

dead:  ^•^•^•^• 

rep. 

"  Came  I  not  forth,  upon  thy  pledge^  my  father's  hand 

to  kiss?  ^•^• 

Be  stilly  and  gaze  thou  on^  false  king  !  and  tell  me  what 

h.  f.  p.  rep. 

is  this? 

d.o. 

The  voice,  the  glance,  the  heart  I  sought  —  give  answer, 
^Aerg  are  they  ?  ^•°-  ^•^• 

d.o.  ^ 

If  thou  wouldst  clear  thj  perjured  soul,  send  life  through 
this  cold  clay?  ^■^■''"^-  ^■°- 

"  Into  these  glassy  eyes  put  light  —  be  still/  keep  down 
thine  ire!  ''^-  ^-^p-  '^'^p- 

Bid  these  white  lips  a  blessing  speak  —  this  earth  is  not 
my  sire—  ^•°-  ^•°- 

Give  me  back  him  for  whom  I  strove,  for  whom  my 

h.f. 

blood  was  shed ! 

d.f. 

Thou  canst  not  ?  —  and  a  king  !  —  his  dust  be  mountains 

h.  f.  d.  f.  b.  h.  h.  f.  p. 

on  thy  head!" 
He  loosed  the  steed — his  slack  hand /(?Z? — upon  the 

h.  o.  drop. 

silent  face 
He  cast  one  long,  deep,  troubled  look,  then  turned  from 

that  sad  place  ;  ^- "  ^-  "P"'  ^""""'"^  '^'  ^^'^ '"  ''''■ 

His  hope  was  crushed,  his  after  fate  untold  in  martial 

strain—       '^^•p-  ^•^• 

His  banner  led  the  spears  no  more,  amid  the  hills  of 

Spain.  **'  ^" 


SELECTIONS  FOR  PRACTICE.  225 

THE  INSPIRATION  OF  THE  BIBLE. 

EDW.   "WTNTHROP. 

Such  is  the  intrinsic  excellence  of  Christianity  that  it 
is  adapted  to  the  wants  of  all^  and  it  provides  for  all, 

h.l.  d.o. 

not  only  by  its  precepts  and  by  its  doctrines^  but  also 

h.  1. 

by  its  evidence, 

^  d.o. 

The    poor   man   may  know  nothing  of  history,  or 

science,  or  philosophy ;  he  may  have  read  scarcely  any 

h.l. 

book  but  the  Bible  ;  he  may  be  totally  unable  to  van- 
d.  1. 

quish  the  skeptic  in  the  arena  of  public  debate  ;  but  he 

h.  o. 

is  nevertheless  surrounded  by  a  panoply  which  the 
shafts  of  infidelity  can  never  pierce. 

d.o. 

You  may  go  to  the  home  of  the  poor  cottager^  whose 

h.l.ind. 

heart  is  deeply  imbued  with  the  spirit  of  vital  Christi- 

d.o. 

anity  ;  you  may  see  him  gather  his  little  family  around 

b.  h.  h.o. 

him :  he  expounds  to  them  the  wholesome  doctrines  and 
principles  of  the  Bible,  and  if  they  want  to  know  the 

h.o. 

evidence  upon  which  he  rests  his  faith  of  the  divine 

d.o. 

origin  of  his  religion,  he  can  tell  them,  upon  reading  the 
book  which  teaches  Christianity,  he  finds  not  only  a 
perfectly  true  description  of  his  own  natural  character, 

h.o. 


226  MANUAL  OF  GESTURE. 

but  in  the  provisions  of  this  religion  a  perfect  adaptation 

to  all  his  needs. 
h.i. 

It  is  a  religion  by  which  to  live  —  a  religion  by  which 

h.  f. 

to  die  ;  a  religion  which  cheers  in  darkness,  relieves  in 

d.f.  h.f.  h.o. 

perplexity,    supports   in   adversity,  keeps    steadfast  in 

h.  1.  h.  f. 

prosperity,  and  guides  the  inquirer  to  that  blessed  land 

a.  o. 

where  "  the  wicked  cease  from  troubling,  and  the  weary 

d.o. 

are  at  rest." 

We  entreat  you,  therefore,  to  give  the  Bible  a  wel- 

h.o. 

come  —  a  cordial  reception;  obey  its  precepts,  trust  its 

rep.  d.  o.  h.  f. 

promises,  and  rely  implicitly  upon  that  Divine  Redeemer^ 

a.  o. 

whose  religion  brings  glory  to  God  in  the  highest^  and 

b.  h.  a.  f. 

on  earth,  peace.,  and  good  will  to  men. 

b.  h.  h.o.  b.  h.d.o. 

Thus  will  you  fulfill  the  noble  end  of  your  existence., 

a.  o. 

and  the  great  Grod  of  the  universe  will  be  your  father 

r.  h.  upl. 

and  your  friend  ;  and  when  the  last  mighty  convulsion 

h.  o. 

shall  shake  the  earth.,  and  the  sea^  and  the  sky,  and  the 

b.h.h,  1. 

fragments  of  a  thousand  barks^  richly  freighted  with 

b.h.  h.o. 

intellect  and  learning.,  are  scattered  on  the  shores  of 

rep. 

error  and  delusion.,  your  vessel  shall  in  safety  outride 

b.  h.  h.  1.  p.  b.h.  a.  o. 

the  storm,  and  enter  in  triumph  the  haven  of  eternal 
rest. 

b.  h.  a.  f. 


SELECTIONS  FOR  PRACTICE.  227 

THE  BRIDGE  OF  SIGHS. 

HOOD. 

One  more  unfortunate, 
Weary  of  breath, 
Rashly  importunate y 

d.o. 

Gone  to  her  death! 
d.i. 

Take  her  up  tenderly ^ 

b.  h.  d.  o.  par. 

Lift  her  with  care  ; 

b.  h.  h.o.  par. 

Fashioned  so  slenderly, 

h.o. 

Young,  and  so  fair  ! 

d.o. 

Look  at  her  garments 

d. o. ind. 

Clinging  like  cerements ; 
Whilst  the  wave  constantly 
Brifs  from  her  clothing ; 

d.o.  p. 

Take  her  up  instantly ^ 

d.  o. 

Loving^  not  loathing^ 

imp.  d.l. 

Touch  her  not  scornfully ^ 

d.o. 

Think  of  her  mournfully , 

h.  o.  p. 

Gently  and  humanly  ; 

d.o. 

Not  of  the  stains  of  her — 
d.l. 


228  MANUAL  OF  GESTURE. 

All  that  remains  of  her 
Now  is  pure  womanly, 

h.o. 

Make  no  deep  scrutiny 

h.  o.  p. 

Into  her  mutiny 
Rash  and  undutiful ; 

d.  o. 

Past  all  dishonor, 

d.l. 

Death  has  left  on  her 
Only  the  heautifuL 

h.o. 

Loop  up  her  tresses 

d.  o. ind. 

Escaped  from  the  comb, 
Her  fair  auburn  tresses  ; 

d.  o. 

While  wonderment  guesses 

r.  h.  upl. 

Where  was  her  home  ? 

h.  1. 

Who  was  her  father^ 

h.f. 

Who  was  her  mother  f 

h.o. 

Had  she  a  sister  f 

h.l. 

Had  she  a  brother  f 

d.o. 

Or  was  there  a  dearer  one 

d.  f. 

Still,  and  a  nearer  one 

rep. 

Yet,  than  all  other  ? 


SELECTIONS   FOR  PRACTICE.  229 

Alas  !  for  the  rarity 

r.  h.  upl.  ) 

Of  Christian  charity 
Under  the  sun ! 
Oh !  it  was  pitiful ! 

h  o.  p. 

Near  a  whole  city  full 

b.h.h.o. 

Home  she  had  none  ! 

d.l. 

Sisterly,  brotherly, 
Fatherly,  motherly 

h.l. 

Feelings  had  changed : 

d.o. 

Love  by  harsh  evidence 
Thrown  from  its  eminence  : 

d.l. 

Even  God's  providence 

r.  h.  upl. 

Seeming  estranged. 

h.l.  p. 

When  the  lamps  quiver 
So  far  in  the  river^ 

h.f.p. 

With  many  a  light 

h.o. 

From  window  and  casement. 
From  garret  to  basement^ 

d.o. 

She  stood  with  amazement, 

r.  h.  upl. 

Houseless  by  night. 


280  MANUAL  OF  GESTURE. 

The  bleak  wind  of  March 
Made  her  tremble  and  shiver ; 

h.  o  p. 

But  not  the  dark  arch, 

h.I. 

Or  the  black  flowing  river: 

d.f. 

Mad  from  lifers  history, 

h.  o. 

Glad  to  deaths  mystery 

d.o. 

Swift  to  be  "hurled  — 
Anywhere,  anywhere, 

h.I. 

Out  of  the  world  — 

d.l. 

In  she  plunged  boldly^ 

b.  h.d.f. 

No  matter  how  coldly 
The  rough  river  ran. 
Take  her  up  tenderly^ 

b.h.d.  o.  par. 

Lift  her  with  care  ; 

b.  h.  h.  o.  par. 

Fashioned  so  slenderly^ 

h.o. 

Young,  and  ^ofair! 

d.o. 


Ere  her  limbs  frigidly 
Stiffen  too  rigidly, 

d.  o.  p. 

Decently,  kindly, 

Smooth,  and  compose  them  , 

d>o  p. 


SELECTIONS   FOB  PRACTICE.  231 

And  her  eyeB^  close  them, 

d.  o.      d.  o.  p. 

Staring  so  blindly  ! 

d.  o.  p. 


Dreadfully  staring 

d.  f. 

Through  muddy  impurity^ 

h.  f.  p. 

As  when  with  the  daring 
Last  look  of  despairing 

r.  h.  upl. 

Fixed  on  futurity, 

h.f. 


Perishing  gloomily^ 

d.  o.  p. 

Spurred  by  contumely^ 
Cold  inhumanity y 

h.  o.  p. 

Burning  insanity^ 

d.  o.  ind. 

Into  her  rest. — 


Cross  her  hands  humbly 

d.o.  p. 

As  if  praying  dumbly, 
Over  her  breast. 


Owning  her  weakness, 

d.o. 

Her  evil  behavior^ 

d.l. 

And  leaving,  with  meekness^ 

d.o. 

Her  sins  to  her  Saviour ! 


232  MANUAL  OF  GESTURE. 

THE  BARON'S  LAST  BANQUET. 

ALBERT  G.   GREENE. 

O'er  the  low  couch  the  setting  sun  had   thrown  his 
latest  ray^ 

d.  o.  p. 

Where,  in  his  last  strong  agony,  a  dying  warrior  lay, — 

d.o. 

The  stern  old  Baron  Rudiger^  whose  frame  had  ne'er 
been  hent  ^•°- 

d.o. 

By  wasting  pain,  till  time  and  toil  its  iron  strength  had 

spent. 
d.i. 


"  They  come  around  me  here,  and  say  my  days  of  life 
are  o'er,  ^'°' 

d.o. 

That  I  shall  mount  my  noble  steed  and  lead  my  band 

no  more  ;  ^"  °" 

h.l. 

They  come,  and,  to  my  beard,  they  dare  to  tell  me  now 
that  J, 

h.f. 

Their  own  liege  lord  and  master  born,  that  I — ha!  ha! 

—  must  die.  ^-^  '■•^•"P'- 

d.f. 

"And  what  is  death?     I've  dared  it  oft,  before  the 

h.  o.  d.o. 

Paynim  spear ; 
Think  ye  he  's  entered  at  my  gate  —  has  come  to  seek 

h.  o. 

me  hereP 

d.o. 

I  've  met  him,  faced  him,  scorned  him,  when  the  fight 

h.f.  rep.  d.  l.p. 

was  raging  Ao^  ; — 

d.o. 


SELECTIONS   FOR   PRACTICE.  283 


1*11  try  his  might,  I'll  hrave  his  power!  —  defy^  and 

h.f.  rep.  b.  h.h.f. 

fear  him  not  I 

b.h.  d.f. 

''''Ho!   soimd  the  tocsin  from   my  tower,  and  fire  the 

r.h.upl.  a.  o.  ind. 

culverin  ; 

a.l.ind. 

Bid  each  retainer  arm  with  speed ;  call  every  vassal  in. 

b.  h.h.o.  b.  h.  d.  o. 

Up  with  my  banner  on  the  wall, —  the   banquet-board 

r.h.upl.  h.o. 

prepare, 
Throw  wide  the  portal  of  my  hall,  and  bring  my  armor 

h.l.  h.o.  ind. 

there ! " 
An  hundred  hands  were  busy  then :  the  banquet  forth 

b.h.  h.o.  h.l. 

was  spread. 
And  rung  the  heavy  oaken  floor  with  many  a  martial 
tread  ; 

b.h.d.b. 

While  from  the  rich,  dark  tracery,  along  the  vaulted  wall, 

h.o. 

Lights  gleamed  on  harness,  plume  and  spear,  o'er  the 

h.o.  ind. 

proud  old  Gothic  hall. 

h.l.  ind. 

Fast   hurrying    through    the    outer  gate,   the   mailed 

h.  o. 

retainers  poured, 

rep. 

On  through  the  portal's  frowning  arch,  and  thronged 
around  the  board  ;  ^-  ^-  ^-  °- 

While  at  its  head,  within  his  dark,  carved,  oaken  chair 
of  state,        ^  '• 

imp. 

Armed  cap-a-pie,  stern  Rudiger,  with  girded/aZ<?Azow,  sat. 

h.  1.  ind.  rep. 


234  MANUAL  OF   GESTURE. 

"  Fill  every  leaker  up,  my  men  ! — pour  forth  the  cheer- 
ing wine  !     ^•^-  ^•°- 

There's  life  and  strength  in  every  drop^ — thanksgiving 
to  the  vine!  ^•°-  ^•^•^•°- 

Are   ye  all   there^  my  vassals  true?  —  mine  eyes  are 

h. o.  drop, 

waxing  dim : 
Fill  rounds  my  tried  and  fearless  ones,  each  goblet  to 

h,  o. 

the  hrim! 

rep. 


"  Ye'  re  there^  but  yet  I  see  you  not! — forth  draw  each 

h.  o.  d.  o. 

trusty  sword^ 

h.  o.  ind. 

And  let  me  hear  your  faithful  steel  clash  once  around 
my  board! 

b.h.h.o. 

I  hear  it  faintly  !  —  louder  yet !     What  clogs  my  heavy 

r.  h.  ulp.  h.  o.  d.o. 

breath  ? 
Up^  all! — and   shout   for    Budiger^     'Defiance   unto 

b.  h.  upl.  b.  h,  a.  o. 

death!''' 

b.  h.  d.  o.  cli. 


Bowl  rang  to  howl^  steel  clanged  to  steely  and  rose  a 

h.  o.  ind.  h.  1.  ind. 

deafening  cry, 
That  made  the  torches  flare  around,  and  shook  the  flags 

1   •     1  a.  1.  b.h.a.o. 

on  high : 
"  Ho  !    cravens  !    do  ye  fear  him  ?      Slaves  !    traitors ! 

b.  h.  upl.  b.  h.  h.  o.  rep. 

have  ye  flown  f 

rep. 

Ho  !  cowards,  have  ye  left  me  to  meet  him  here  alone  ? 

b.h.upl.  b.  h.d.o. 


SELECTIONS   FOR   PRACTICE.  235 

"  But  I  dfg/y  him!  —  let  him  come!''^     Down  rang  the 

h.  f.  cli.  rep.  d.o. 

massy  cup, 
While  from  its  sheath  the  ready  blade  came  flashing 

I      ^p  h.  o.  ind. 

half-way  up ; 
And,  with  the  black  and  heavy  plumes  scarce  trembling 

on  his  head,  ^  °'^" 

There,  in  his  dark,  carved,  oaken  chair^  old  Rudiger 

•Til  h. o. ind. 

sat  —  dead  I 

drop. 


THE    WOLVES. 

J.  T.  TROWBRIDGE. 

Ye  that  listen  to  stories  told, 

h.o. 

When  hearths  are  cheery  and  nights  are  cold, 
Of  the  lone  woodside,  and  the  hungry  pack^ 

h.  1. 

That  howls  on  the  fainting  traveler's  track, 

imp. 


The  flame-red  eye-halls  that  waylay 

h.  l.ind. 

By  the  wintry  moon,  the  belated  sleigh  ; 


The  lost  child  sought  in  the  dismal  wood^ 

h.o.  b.  p.  rep. 

The  little  shoes^  and  the  stains  of  blood 

d.l.  d.l.p. 

On  the  trampled  snow, — ye  that  hear 
With  thrills  oi  pity,  or  chills  oi  fear, 

h.  0.  h. !, 


286  MAlinJAL  OF   GESTURE. 

Wishing  some  kind  angel  had  been  sent 

a.  o. 

To  shield  the  hapless  innocent, — 

h.  o.  p. 

Know  ye  the  fiend  that  is  crueler  far 

d.o. 

Than  the  gaunt  gray  herds  of  the  forest  are  ? 

Swiftly  vanish  the  wild  fleet  tracks 

h.i. 

Before  the  rifle  and  the  woodman's  axe. 
But  hark  to  the  coming  of  unseen  feet, 

r.  h.  upl.  h.  o.  p. 

Pattering  by  night  through  the  city  street. 

Each  wolf  that  dies  in  the  woodland  brown, 

h.i. 

Lives  a  spectre^  and  haunts  the  town  ! 

h.  o.  V.  h.  o. ind. 

By  square  and  market  they  slink  and  prowl^ 


h.o. 


In  lane  and  alley  they  leap  and  howl ; 


h.i. 


All  night  long  they  snuff  and  snarl  before 
The  patched  window  and  the  broken  door. 

d.o.  d.l. 

They  paw  the  clapboards^  and  claw  the  latch  ; 

h.  f.  p.  h.  o.  p. 

At  every  crevice  they  Avhine  and  scratch. 

h.i. 


Children,  crouched  in  corners  cold^ 

h.  o.  p. 

Shiver  with  tattered  garments  old ; 

rep. 


SELECTIONS  FOR   PRACTICE.  237 

They  start  from  sleep  with  bitter  pangs 

r.  h.  upl. 

At  the  touch  of  the  phantom's  viewless  fangs. 

h.o.  p. 

Weary  the  mother,  and  worn  with  strife^ 

d.  1.  d.o. 

Still  she  watches  and  fights  for  life  ; 

d.f. 

But  her  hand  \&  feeble  and  her  weapon  small, — 

h.  o.  rep. 

One  little  needle  against  them  alL 

h.  f.  h.  1. 

In  evil  hour  the  daughter  fled 

h.l. 

From  her  poor  shelter,  and  wretched  bed, 


Through  the  city's  pitiless  solitude 

To  the  door  of  sin, — the  wolves  pursued ! 

h. o. ind. 

Fierce  the  father,  and  grim  with  want, 

h.  f.  h.  o.  p. 

His  heart  was  gnawed  by  the  spectres  gaunt, 

h.l.  p. 

Frenzied,  stealing  forth  by  night, 

d.  o.cli. 

With  whetted  knife  for  the  desperate  fight, 

a.  o.cli. 

He  thought  to  strike  the  spectres  dead, — 

d.  o.  cli. 

But  killed  his  brother  man  instead. 

d.o. 

O  ye  that  listen  to  stories  told, 

h.o. 

When  hearths  are  cheery  and  nights  are  cold, 


238  MANUAL  OF   GESTURE. 

Weep  no  more  at  the  tales  you  hear, 
h.i. 

The  danger  is  close^  and  the  wolves  are  near/ 


h.f. 


rep. 


Shudder  not  at  the  rrmrderer's  name, 

h.  f.  p. 

Marvel  not  at  the  maiden's  shame ; 

h.  o,  p. 

Pass  not  by  with  averted  eye, 

h.l.p. 

The  door  where  the  stricken  children  cry. 

But  when  the  beat  of  the  unseen  feet 
Sounds  by  night  through  the  city  street. 

Follow  thou,  where  the  spectres  glide, 
And  stand,  like  Hope,  at  the  mother's  side  ; 

h.o. 

And  be  thyself  the  angel  sent 
h.f. 

To  shield  the  hapless  innocent. 

h.  o.  p. 

He  gives  but  little  who  gives  his  tears ; 

d.l. 

He  gives  best  who  aids  and  cheers. 

d.o. 

He  does  well  in  the  forest  wild 

h.l. 

Who  slai/8  the  monster  and  saves  the  child ; 

d.l.  p.  h.o. 

He  does  better,  and  merits  more, 

d.  o.  rep. 

Who  drives  the  wolf  from  the  poor  man's  door, 

h.  1.  V. 


SELECTIONS  FOR  PRACTICE.  239 

ANTONY'S  ADDRESS  TO  THE  ROMANS. 

SHAKSPEARE. 

Friends,  Romans,  countrymen,  lend  me  your  ears  ; 

h.o. 

I  come  to  hury  Csesar,  not  to  praise  him. 

d.o.  h.l. 

The  evil  that  men  do  lives  after  them  ; 

h.o.  d.o. 

The  good  is  oft  interred  with  their  hones  ; 

h.  o.  d.  o.  p. 

So  let  it  be  with  Ccesar.     The  noble  Brutus 

d.o.  h.o. 

Hath  told  you  Caesar  was  ambitious  : 

rep. 

If  it  were  so,  it  was  a  grievous  fault, 

h.l. 

And  grievously  hath  Caesar  answered  it. 

d.o. 

Here^  under  leave  of  Brutus  and  the  rest 

h.f.  h.o. 

(For  Brutus  is  an  honorable  man ; 

d.l. 

So  are  they  all^  all  honorable  men), 

b.h.d.o.  b.h.d.l. 

Come  I  to  speak  in  Caesar's  funeral. 

h.f. 

He  was  my  friend^  faithful  on^just  to  me  ; 

h.  o.  d.  o. 

But  Brutus  says  he  was  ambitious  ; 

h.  1.  rep. 

And  Brutus  is  an  honorable  man. 

d.l. 

He  hath  brought  many  captives  home  to  Rome, 

h.  o. 

Whose  ransoms  did  the  general  coffers  fill : 

d.o. 

Did  this  in  Caesar  seem  ambitious  ? 
h.f. 

When  that  the  poor  have  cried,  Caesar  hath  wept : 

h. o.  h.o.  p. 


240  MANUAL  OF  GESTURE. 

Ambition  should  be  made  of  sterner  stuff ; 

d.o. 

Yet  Brutus  says  he  was  ambitious  ; 

h.o. 

And  Brutus  is  an  honorable  man. 

d.o. 

You  did  all  see  that  on  the  Lupercal 
I  thrice  presented  him  a  kingly  crown, 

h.o. 

Which  he  did  thrice  refuse.     Was  this  ambition  ? 

d.l.  h.f. 

Yet  Brutus  says  he  was  ambitious ; 

h.o. 

And  sure  he  is  an  honorable  man. 

d.o. 

I  speak  not  to  disprove  what  Brutus  spoke, 

d.l. 

But  here  I  am  to  speak  what  I  do  know. 

d.f. 

You  all  did  love  him  once ;  not  without  cause  ; 

h.o.  h.  1. 

What  cause  withholds  you,  then,  to  mourn  for  him  ? 

d.o. 

O  judgment !  thou  art  fled  to  brutish  beasts, 

h.f.  d.l. 

And  men  have  lost  their  reason!    Bear  with  me  ; 

rep.  h.o. 

My  heart  is  in  the  cof&n  there  with  Csesar, 

d.  o.  p. 

And  I  must  pause  till  it  come  back  to  me. 

d.o. 

But  yesterday,  the  word  of  Caesar  might 

h.  o. 

Have  stood  against  the  world :  now  lies  he  there, 

h.  1.  d.  o.  ind. 

And  none  so  poor  to  do  him  reverence, 
d.l. 

O  masters  !  if  I  were  disposed  to  stir 

b.h.  h.  o. 

Your  hearts  and  minds  to  mutiny  and  rage^ 

rep. 


SELECTIONS   FOE   PRACTICE.  241 

I  should  do  Brutus  wrong,  and  Cassiu^  wrong, 

h  f.  h.  o. 

Who,  you  all  know,  are  honorable  men. 

d.o. 

I  will  not  do  them  wrong ;  I  rather  choose 
hi. 

To  wrong  the  dead,  to  wrong  mi/ self,  and  you, 

d.  o.  h.  on  heart.  h.  o. 

Than  I  will  wrong  such  honorable  men. 

h.i. 

But  here  's  a  parchment  with  the  seal  of  Caesar ; 
h.f. 

I  found  it  in  his  closet ;  't  is  his  will  : 

h,  o.  d.  o. 

Let  but  the  commons  hear  this  testament  * 

ho. 

(Which,  pardon  me,  I  do  not  mean  to  read'), 

h.i. 

And  they  would  go  and  kiss  dead  Caesar's  wounds, 
And  dip  their  napkins  in  his  sacred  blood  ; 

rep. 

Yea,  beg  a  hair  of  him  for  memory, 

h.  o. 

And,  dying,  mention  it  within  their  wills, 

h.i. 

Bequeathing  it  as  a  rich  legacy 
Unto  their  issue. 

d.o. 

If  you  have  tears,  prepare  to  shed  them  now. 

h.  o.  d.o. 

You  all  do  know  this  mantle  :  I  remember 

h.f. 

The  first  time  ever  Caesar  put  it  on; 

h.o, 

*T  was  on  a  summer's  evening,  in  his  tent — 

h.i. 

That  day  he  overcame  the  Nervii. 

^  d.o. 

Look !  in  this  place  ran  Cassius'  dagger  through ; 

h.  f  ind.  rep. 


242  MANUAL  OF  GESTITRE. 

See  what  a  rent  the  envious  Casca  made  ; 

rep. 

Through  this^  the  well-beloved  Brutus  stabbed ; 

rep. 

And,  as  he  plucked  his  cursed  steel  away, 
Mark  how  the  hlood  of  Caesar  followed  it, 

h.  o.  ind. 

As  rushing  out  of  doors,  to  be  resolved 

h.l. 

If  Brutus  so  unkindly  knocked  or  no ; 

d.  1. 

For  Brutus,  as  you  know,  was  Caesar's  angel : 

h.  o. 

Judge,  O  you  gods,  how  dearly  Caesar  loved  him ! 

a.  o.  rep. 

This  was  the  most  unkindest  cut  of  all ; 

d.o. 

For,  when  the  noble  Caesar  saw  him  stab. 
Ingratitude,  more  strong  than  traitor's  arms, 

h.l.  d.o. 

Quite  vanquished  him.    Then  burst  his  mighty  heart; 

d.l.  b.  h.h.o. 

And,  in  his  mantle  muffling  up  his /ace, 

h.  o.  p. 

Even  at  the  base  of  Pompey's  statue, 

d.  o. 

Which  all  the  while  ran  blood,  great  Caesar /^ZZ. 

d.l.  d.o. 

Oh,  what  a  fall  was  there,  my  countrymen ! 

r.  h.  upl. 

Then  I,  and  gou,  and  all  of  us  fell  down, 

h.  on  heart.  h.o.  b.h.d.  o. 

While  bloody  treason  flourished  over  us. 

a.  1.  ind. 

Oh,  now  you  weep  ;  and,  I  perceive,  you  feel 

h.  o.  p. 

The  dint  oi  pity :  these  are  gracious  drops. 

h.l.  p.  d.l. 

Kind  souls,  what,  weep  you,  when  you  but  behold 

h.  o. 


SELECTIONS  FOR  PRACTICE.  243 

Our  Caesar's  vesture  wounded  ?     Look  you  here  ; 

d.o.  d.  f.  ind. 

Here  is  himself^  marred,  as  you  see,  with  traitors. 

rep  h.  1. 

Good  friends^  sweet  friends,  let  me  not  stir  you  up 

h.o. 

To  such  a  sudden  flood  of  mutiny. 

d.o. 

Thev  that  have  done  this  deed  are  honorable : 

^  d.i. 

What  private  griefs  they  have,  alas  !  I  know  not^ 

h.  o.  d.  o. 

That  made  them  do  it ;  they  are  wise  and  honorable^ 

h.i. 

And  will,  no  doubt,  with  reasons  answer  you. 

d.o, 

I  come  not,  friends,  to  steal  away  your  hearts  ; 

h.o. 

I  am  no  orator^  as  Brutus  is ; 

h.l.  imp. 

But,  as  you  know  me  all,  a  plain,  blunt  man, 

h.  f. 

That  love  my  friend,  and  that  they  know  full  well^ 

h.o.  d.o. 

That  gave  me  public  leave  to  speak  of  him  ; 

rep. 

For  I  have  neither  wit,  nor  words,  nor  worthy 

d.i. 

Action,  nor  utterance^  nor  the  power  of  speech., 

d.o.  d.i. 

To  stir  men's  blood :  I  only  speak  right  on  ; 

h.f. 

I  tell  you  that  which  you  yourselves  do  know  ; 

h.  o. 

Show  you  sweet  Caesar's  wounds.,  poor,  poor  dumb 

mouths. 
And  bid  them  speak /or  me  ;  but,  were  I  Brutus., 

d.o.  h.o. 

And  Brutus  Antony.,  there  were  an  Antony 

h.  on  heart. 

Would  ruffle  up  your  spirits,  and  put  a  tongue 

h.o.  p.  d.o.  ind. 

II* 


244  MANUAL  OF   GESTURE. 


In  every  wound  of  Caesar,  that  should  move 

rep. 

The  stones  of  Rome  to  rise  and  mutiny. 

d,  o.  cli.  rep. 


THE  CHARGE  OF  THE  LIGHT  BRIGADE. 

TENNYSON. 

Half  a  league^  half  a  league, 

r.  h.  upl. 

Half  a  league  onward^ 

h.  f. 

All  in  the  valley  of  Death 

b.h.  d.o. 

Rode  the  six  hundred. 
"  Forward^  the  Light  Brigade  ! 

h.  f. 

Charge  for  the  guns .' "  he  said  : 

h.  f.  ind. 

Into  the  valley  of  Death 

b.h.  d.o. 

Rode  the  six  hundred. 


'-'•  Forward^  the  Light  Brigade  ! " 

h.f. 

Was  there  a  man  dismayed  ? 

h.o. 


Not  though  the  soldier  knew 
Some  one  had  blundered: 

d.o. 

Theirs  not  to  make  reply ^ 

Theirs  not  to  reason  why^ 
d.i. 

Theirs  but  to  do  and  die^ 

d.o. 


SELECTIONS  FOR   PRACTICE.  246 

Into  the  valley  of  Death 

b.  h.d.o. 

Rode  the  six  hundred. 
Cannon  to  right  of  them, 

b.  h.  h.  1.  par.  (right.) 

Cannon  to  left  of  them, 

b.  h.  h.  1.  par.  (left.) 

Cannon  in  front  of  them, 
b.  h.h.f. 

Volleyed  and  thundered : 

b.  h.  a.  o.  p. 

Stormed  at  with  shot  and  shell, 

b.  h.  a.  f.  p. 

Boldly  they  rode  and  well^ 

b.  h.h.f.  b.h.d.f. 

Into  the  jaws  of  Deaths 

b.  h.d.o. 

Into  the  mouth  of  Hell^ 

b.h.d.f. 

Rode  the  six  hundred. 
Flashed  all  their  sabres  bare, 

a.  o. 

Flashed  as  they  turned  in  aiV, 

a.l. 

Sabring  the  gunners  there, 

h.  o. ind. 

Charging  an  army^  while 

b.h.h.o. 

All  the  world  tvondered : 

b.  h.h.  1. 

Plunged  in  the  hattery-^vcioke^ 
b.  h.h.f. 

Right  through  the  line  they  broke  ; 

b.h.h.o. 

Cossack  and  Russian 
Reeled  from  the  sabre-stroke 

b.  h.  h.  o.  p. 

Shattered  and  sundered, 

b.h.d.l.p. 


246  MANUAL  OF  GESTURE. 

Then  they  rode  haek^  but  not, 
h.i. 

Not  the  six  hundred. 

d.o. 


Cannon  to  right  of  them, 

b.  h.  h.  1.  par. 

Cannon  to  left  of  them, 

b.h.h.l.  par.  (left.) 

Cannon  behind  them 

b.  h.  h.  o.  b.  par. 

Volleyed  and  thundered  ; 

b.  h.  a.  o.  p. 

Stormed  at  with  shot  and  shell, 

b.  h.  a.  f.  p. 

While  horse  and  hero  fell, 

b.  h.d.o. 

They  that  had  fought  so  well. 
Came  through  the  jaws  of  Deaths 

rep. 

Back  from  the  mouth  of  Hell, 

b.h.d.f. 

All  that  was  left  of  them  — 

d.l. 

Left  of  six  hundred. 

drop. 


When  can  their  gloTjfade? 

h.o. 

Oh  the  wild  charge  they  made ! 

r.  h.  upl. 

All  the  world  wondered. 

h.l. 

Honor  the  charge  they  made ! 

a.  o. 

Honor  the  Light  Brigade, 

h.o. 

Noble  Six  Hundred ! 

d.o. 


SELECTIONS   FOR   PRACTICE.  247 

CATILINE'S  DEFIANCE. 

CROLY. 

Conscript  Fathers  ! 

h.o. 

I  do  not  rise  to  waste  the  night  in  words  ; 

h.i. 

Let  that  plebeian  talk  ;  't  is  not  my  trade  ; 

h.o.ind.  d.  o. 

But  here  I  stand  for  rights — let  him  show  joroo/s, — 

d.  f.  h.  o. 

For  Roman  right ;  though  none,  it  seems,  dare  stand 

d.f. 

To  take  their  share  with  me.     Ay,  cluster  there  ! 

d.o.  b.  h.h.f. 

Cling  to  your  master^  judges,  Romans,  slaves  I 

rep.  b.  h.  d.  f. 

His  charge  \^  false  ; —  I  dare  him  to  his  proofs. 

d.o.  h.o. 

You  have  my  answer.     Let  my  actions  speak ! 

h.f.  h.o. 

But  this  I  will  avow,  that  I  have  scorned, 

h.  f.  d.  f. 

And  still  do  scorn,  to  hide  my  sense  of  wrong  ! 

rep. 

Who  brands  me  on  the  forehead^  breaks  my  sword, 

h.  f.  ind.  rep. 

Or  lays  the  bloody  scourge  upon  my  back, 

rep. 

Wrongs  me  not  half  so  much  as  he  who  shuts 

d.o. 

The  gates  of  honor  on  me, —  turning  out 

h.  o.  p. 

The  Roman  from  his  birthright ;  and,  for  what  f 

h.  1.  p.  h.o. 

To  fling  your  offices  to  every  slave! 

h.l. 

Vipers,  that  creep  where  man  disdains  to  climb, 

d.l.ind,  d.l.p. 


248  MANUAL   OF   GESTURE. 

And,  having  wound  their  loathsome  track  to  the  top 
Of  this  huge,  moldering  monument  of  Borne, 

fore  arm  v.  ind.,  pointing  v. 

Hang  hissing  at  the  nobler  man  below ! 

arm  in  same  position,  ind.  pointing  downward. 

Come,  consecrated  lictors,  from  your  thrones  ; 

b.  h.  h.  f.  rep. 

Fling  down  your  scepters  ;  take  the  rod  and  axe, 

d.l.  h.o.cli. 

And  make  the  murder  as  you  make  the  law  ; 

d.o.  cli.  h.o. 

Banished  from  Rom,e  !    What 's  banished,  but  set  free 

d.o. 

From  daily  contact  of  the  things  I  loathe  ? 

d.l. 

"  Tried  and  convicted  traitor!''      Who  says  this? 

d.o.  h.o. 

Who  '11  prove  it,  at  his  peril  on  my  head  ? 

d.  o. 

"  Banished  !  "     I  thank  you  for  't.    It  breaks  my  chain! 

h.o.  d.o.  d.l. 

I  held  some  slack  allegiance  till  this  hour ; 

d.o. 

But  now  my  sword  's  my  own.     Smile  on,  my  lords ; 

h.f.  d.f.  h.o. 

I  scorn  to  count  w\i2ii  feelings,  withered  hopes, 

h.o.  ind.  h. on  heart.  rep. 

Strong  provocations,  bitter,  burning  wrongs, 

rep.  rep. 

I  have  within  my  heart's  hot  cells  shut  up, 

rep. 

To  leave  you  in  your  lazy  dignities. 

h.  o.  p. 

But  here  I  stand  and  scoff  you !  here  I  fling 

h.  o.  ind. 

Hatred  and  full  defiance  in  your  face ! 

h.  o.  cli. 

Your  consul 's  merciful.     For  this,  all  thanks, 

d.o.  d.l. 

He  dares  not  touch  a  hair  of  Catiline  ! 

h.  0.  ind,  rep. 


SELECTIONS  FOR  PRACTICE.  249 

"  Traitor!'^  I  go;  but,  I  return.     This  —  trial! 

d.o.  d.l.  d.f.  h.f. 

Here  I  devote  your  senate  !    I  've  had  wrongs 

h.  o. ind. 

To  stir  a  fever  in  the  blood  of  age^ 

d.o. 

Or  make  the  infant's  sinews  strong  as  steel, 

h.o.  d.o.  cli. 

This  day 's  the  birth  of  sorrow  !    This  hour's  work 

^  h.f. 

Will  breed  proscriptions!    Look  to  your  hearths^  my 

lords,  "-^ 

For  there^  henceforth,  shall  sit,  for  household  gods, 

h.  Kind. 

Shapes  hot  from  Tartarus! — all  shames  and  crimes! 

rep.  rep. 

Wan  Treachery^  with  his  thirsty  dagger  drawn  ; 

rep.  rep. 

Suspicion^  poisoning  his  brother's  cup  ; 

rep. 

Naked  Rebellion^  with  the  torch  and  axe, 

rep. 

Making  his  wild  sport  of  j^our  blazing  thrones  ; 

a.  1. 

Till  Anarchy  comes  down  on  you  like  nighty 

b.  h.  h.  o.  p. 

And  Massacre  seals   Rome's  eternal  grave, 

b.  h.  d.o. p. 


I  go  ;  but  not  to  leap  the  gulf  alone, 

h.l.  d.o. 

I  go  ;  but,  when  I  come,  't  will  be  the  burst 

h.o. 

Of  ocean  in  the  earthquake, —  rolling  hack 

b.  h.  h.  o.  b.  h.  h.  1.  V.  par. 

In  swift  and  mountainous  ruin.     Fare  you  well! 

h.o. 

You  build  mj  funeral-pile  ;  but  your  best  blood 

h.  1. 

Shall  quench  its  flame  !     Back^  slaves  I     I  will  return  ! 

h.o.  cli.  h.o.  V.  d.o.  cli. 


250  MANUAL  OF  GESTURE. 

THE  ANGELS   OF  BUENA  VISTA. 

WHITTIER. 

Speak  and  tell  us,  our  Ximena,  looking  northward  far 

away,        ^•^'  ^•°-^"^-* 

O'er  the  camp  of  the  invaders,  o'er  the  Mexican  array. 

Who  is  losing?  who  is  winning?  are  they/ar,  or  come 

h.f.  h.o.  h.l. 

they  near? 

h.f. 

Look  abroad^  and  tell  us,  sister,  whither  rolls  the  storm 

h.o.  h.f. 

we  hear. 

"  Down  the  hills  of  Angostura,  still  the  storm  of  battle 

rolls,  ^•"'"^• 

Blood  is  flowing,  men  are  dying,  God  have  mercy  on 

d.o.  d.l. 

their  souls  f^' 

a.  f. 

Who  is  losing?  who  is  winning?     "  Over  hill  and  over 
plain,    ^■^-  ^•°- 

h.l. 

I  see  but  smoke  of  cannon  clouding  through  the  moun- 
tain rain."  ^"-P- 


Holy  Mother,  keep  our  brothers !     Look,  Ximena,  look 

a.  o.  h.  o.  ind. 

once  more : 

rep. 

"  Still  I  see  the  fearful  whirlwind  rolling  darkly  as  before, 

h.  o.  p. 

*  While  the  lateral,  as  distinguished  from  the  front  and  the  oblique,  is  the  gesture 
of  distance^  it  is  obvious  that  distance  may  be  indicated  in  any  direction, 


SELECTIONS   FOR   PRACTICE.  251 

Bearing  on,  in  strange  confusion^  friend  and   foeman, 

/.       .  J    1  b.  h.  h.  I.  p.  par. 

foot  and  horse, 
Like  some  wild  and  troubled  torrent  sweeping  down  its 
mountain  course,'''^ 

b.  h.  d.  1.  p.  par. 

Look  forth  once  more,  Ximena !     "  Ah !  the  smoke  has 

rolled  away  ; 
h.i.p. 

And  I  see  the  Northern  rifles  gleaming  down  the  ranks 

n  ho.  ind. 

of  gray. 
Hark!  that  sudden  blast  of  bugles!  there  the  troop  of 

r.  h.  upl.  ind.  h.  o.  ind. 

Minon  wheels ; 

rep. 

There  the  Northern  horses  thunder,  with  the  cannon  at 
their  heels.  '^''^'  "^' 

*' Jesu,  pity!   how  it  thickens!   now  retreat  and  now 

r.  h.upl.  h.  o.  p.  h.l.p. 

advance  ! 

h.o. 

Right    against    the    blazing    cannon   shivers   Puebla's 

charging  lance  ! 
Down  they  go,  the  brave  young  riders ;  horse  and  foot 

d.o. 

together  fall ; 

rep. 

Like  a  ploughshare  in  the  fallow,  through  them  ploughs 
the  Northern  ball."  ^•°- 

Nearer  came  the  storm,  and  nearer^  rolling  fast  and 

h.  o.  rep- 

frightful  on. 

b.  h.  h.  o.  p. 

Speaks  Ximena,  speak,  and  tell  us  who  has  lost  and  who 

h.  f  rep-  rep. 

has  won: 
d.f. 


252  MANUAL   OF   GESTURE. 

''  Alas!  alas  I  1  know  not ;  friend  and  foe  together  fall ; 

b.  h.  upl.  b.  h.  d.  0. 

O'er  the  dying  rush  the  living ;  pray,  my  sisters,  for 
them  all!  ^■'•^■°-      '■^^• 

rep. 

"  Lo !  the  wind  the  smoke  is  lifting ;  Blessed  Mother, 

r.  h.  upl.  a.  o. 

save  my  brain  ! 

h.  on  forehead. 

I  can  see  the  wounded  crawling  slowly  out  from  heaps 
of  slain  ;  ^'  °'  ^' 

imp. 

Now  they  stagger,  blind  and  bleeding ;  now  they  fall, 

rep.  rep.  d.  o.  p. 

and  strive  to  rise  ; 

h.  o. 

Hasten,  sisters,  haste  and  save  them,  least  they  die  before 

h.  f.  rep. 

our  eyes  ! 

rep. 

"  Oh,  my  heart's  love  !  oh,  my  dear  one  !   lay  thy  poor 

h.  f.  rep, 

head  on  my  knee  ; 

rep. 

Dost  thou  know  the  lips  that  kiss  thee?     Canst  thou 

rep. 

hear  me  ?     Canst  thou  see  ? 

rep.  rep. 

Oh,  my  husband,  brave  and  gentle !  oh,  my  Bernard, 

h.  f.  rep. 

look  once  more 
On  the  blessed  cross  before  thee  !     Mercy  !  mercy !   all 

,         5  5  rep.  r.  h,  upl. 

IS  o  er. 

drop. 

Dry  thy  tears,  my  poor  Ximena  ;  lay  thy  dear  one  down 

to  rest; 
d.f. 


SELECTIONS   FOR   PRACTICE.  253 

Let  his  hands  be  meekly  folded^  lay  the  cross  upon  his 

breast;  '°'^'  ^^'^' 

Let  his  dirge  be  sung  hereafter^  and  his  funeral  masses 

•J  h.o.* 

said  ; 
To-day^  thou  poor  bereaved  one,  the  living  ask  thy  aid. 

h.  f.  rep. 

Close  beside  her,  faintly  moaning,  fair  and  young,  a 
soldier  lay, 

d.o. 

Torn  with  shot  and  pierced  with  lances^  bleeding  slow 

d.  o.  p.  rep. 

his  life  away ; 
But,  as  tenderly  before  him  the  lorn  Ximena  knelt, 

d.o. 

She  saw  the  Northern  eagle  shining  on  his  pistol  belt. 

d.  o.ind. 

With  a  stifled  cry  of  horror^  straight  she  turned  away 

her  head;  '■°-"- 

With  a  sad  and  hitter  feeling  looked  she  back  upon  her 

dead  ;  *  °'  ^' 

rep. 

But  she  heard  the  youth's  low  moaning^  and  his  strug- 
gling breath  oi  pain, 

d.o.  p. 

And  she  raised  the  cooling  water  to  his  parched  lips 

h  o. 

agam. 
Whispering   loio  the  dying  soldier,   pressed  her  hand, 

h.o.  h.  o.  cli. 

and  faintly  smiled ; 
Was  that   pitying  face    his    mother' sf   did  she  watch 
beside  her  child?  ^•°-  ^'P' 

*  Reference  to  the  future  here  takes  the  oblique  line  ;  the  sentence  being  treated 
as  a  general  assertion.  By  this  notation,  also,  more  emphasis  is  given  to  the  succeed- 
ing sentence. 


254  MANUAL   OF   GESTUKE. 

All  his  stranger  words  with  meaning  her  woman's  heart 
supplied  ; 

d.o. 

With  her  Jciss  upon  his  forehead,  "  Mother ! "  murmured 

h  o. 

he,  and  died. 
"  A  bitter  curse  upon  them,  poor  boy,  who  led  thee  forth 

h.l.ind. 

From  some  gentle,  sad-eyed  mother^  weeping  lonely  in 

the  North!"  ^•'-  ^■'■^^ 

Spake  the  mournful  Mexic  woman,  as  she  laid  him  with 
her  dead^ 

d.o. 

And  turned  to  soothe   the  living  still,  and   bind  the 
wounds  which  bled.  ^'^' 

h.l.  p. 

Look  forth  once  more,  Ximena :  "  Like  a  cloud  before 

the  wind,  ^•°- 

Rolls  the  battle  down  the  mountains,  leaving  blood  and 

b.  h.d.  1.  p.  par. 

death  behind ; 

b.h.d.  o. 

Ah !   they  plead  in  vain  for  mercy ;    in  the  dust  the 

b.h.upl.  b.h.d.o.p, 

wounded  strive ; 
Hide  your  faces,  holy  angels !  O,  thou  Christ  of  God, 

b.  h  a.  o.  p. 

for  givey 

b.  h.  a.  f. 

Sink,  O  Night,  among  thy  mountains  !  let  the  cool,  gray 
shadows /aZ^;  '  '  '°'^ 

b.  h.  d.  o.  p. 

Dying   brothers,    fighting  demons,  —  drop  thy  curtain 

b.  h.  upl. 

over  all ! 

b.  h.d.l.p. 


SELECTIONS  FOR  PRACTICE.  255 

Through  the  thickening  winter  twilight,  wide  apart  the 
battle  rolled^ 

b.h.  h.o. 

In  its  sheath  the  sabre  rested,  and  the  cannon's  lips  grew 
cold. 

d.  o.  p. 

But  the  noble  Mexic  women  still  their  holy  task  pur- 
sued^ ^'  °' 

Through  that  long,  dark  night  of  sorrow,  worn,  and 
faint,  and  lacking /ooc?  ; 

d.l. 

Over  weak  and  suffering  brothers  with  a  tender  care 

they  hung,  ^^  p 

And  the  dying  foeman  blessed  them  in  a  strange  and 

Northern  tongue, 
h.i. 

Not  wholly  lost,  O  Father !  is  this  evil  world  of  ours  ; 

a.  f. 

Upward,  through  its  blood  and  ashes,  spring  afresh  the 
Eden  flowers ; 

a.  o. 

From  its  smoking  hell  of  battle  Love  and  Pity  send  their 

prayer,  '•^•'•°-  ^•^•^•°- 

And  still  thy  white-winged  angeU  hover  dimly  in  our 

b.  h.a.  o.  p. 

air. 


THE  PERFECT  ORATOR. 

BRINSLEY  SHERIDAN. 

Imagine  to  yourselves  a  Demosthenes.,  addressing  the 

h.o. 

most  illustrious  assembly  in  the  world   upon  a  point 

h.i. 

whereon  the  fate   of  the  most   illustrious  of  nations 

d.o. 


256  MANUAL  OF  GESTURE. 

depended.     How  awful  such  a  meeting !  how  vast  the 

r.  h.  upl.  h.l. 

subject !     Is  man  possessed  of  talents  adequate  to  the 

h.o. 

great  occasion  ?     Adequate !     Yes,  superior.      By  the 

d.o. 

power  of  eloquence  the  augustness  of  the  assembly  is 

h.l. 

lost  in  the  dignity  of  the  orator,  and  the  importance  of 

d.l. 

the  subject  for  a  while  superseded  by  the  admiration  of 

h.o. 

his  talents. 

d.o. 

With  what  strength  of  argument^  with  what  powers 

h.  f. 

of  the  fancy.,  with  what  emotions  of  the  hearty  does  he 

h.o.  h.l. 

assault  and  subjugate  the  whole  man,  and  at  once  cap- 

h.  o.  p. 

tivate  his  reason,  his  imagination  and  his  passions  !    To 

h.l. 

effect  this  must  be  the  utmost  effort  of  the  most  improved 

d.  f.  rep, 

state  of  human  nature.    Not  a  faculty  that  he  possesses 
is  here  unemployed  ;  not  a  faculty  that  he  possesses  but 

d.o. 

is  here  exerted  to  its  highest  pitch.     All  his  internal 

h.  f.  b.  h.  h.  f. 

powers  are  at  work;  all  his  external.,  testify  their  energies. 

imp.  b.  h.h.  o.  imp. 

Within^  the  memory,  the  fancy,  the  judgment,  the 

h.f. 

passions  are  all  busy.      Without^   every  muscle^   every 

rep.  h.  o.  rep. 

nerve^  is  exerted ;  not  a  feature,  not  a  limb,  but  speaks. 


rep. 


d.o. 


The  organs  of  the  body.,  attuned  to  the  exertions  of  the 
mind  through  the  kindred  organs  of  the  hearers^  instan- 

h.o.  h.l. 

taneously  vibrate  those  energies  from  soul  to  soul. 

b.  h.  h.o. 


SELECTIONS  FOR  PRACTICE.  267 

Notwithstanding  the   diver sity  of  minds  in  such  a 

b.  h.h.o. 

multitude,  by  the  lightning  of  eloquence  they  are  melted 
into  one  mass  ;  the  whole  assembly^  actuated  in  one  and 

b.h.h.f.p.  b.h.h.l.  b.h.  h.f. 

the  same  way,  become,  as  it  were,  but  one  man^  and 

rep.  rep. 

have  but  one   voice.      The  universal   cry  is :    Let  us 

rep. 

march  against  Philip  —  let  us  fight  for  our  liberties  — 

b.  h.h.o.  b.  h.  a. o. 

le^  US  conquer  or  die  ! 

rep.  b.  h.  d.  o. 


25S  MANI7AL  OS*  OESTTTRE. 

ILLUSTRATED  EXTRACT. 


Fig.  92. 


Fig.  93. 


No  fearing,  no  doubting,  thy  soldier  I       When  here  stands  his  country, 
shall  know,     ^•^'  h.f. 


Fig.  94. 


And  yonder  her  foe  ; 
h.l.ind. 


Fig.  95. 

One  look  at  the  bright  sun, 
a.f. 


SELECTIONS  FOB  PRACTICE. 


259 


Fig.  96. 

One  prayer  to  the  sky, 
b.h.a.o. 


Fig.  97. 

One  glance  where  our  banner  yrsyt^ 
glorious  on  high  ;     ^-^-i^d. 


Fig.  98. 


Fig.  99. 


Then  on,  as  the  young  lion  bounds 
b.h.h.f. 
on  his  prey, 


Let  the  sword  flash  on  high, 
%.  o.  ind. 


260 


MANUAL  OF  GESTUEE. 


Fig.  100. 


Fig.  101. 


Fling  ^he  scabbard  away ; 
d.l. 


Roll  on,   like  the  thunderbolt  over 
b.  h.  h.  f.  rep. 

the  plain  ! 


Fig  102. 


We  come  back  in  glory, 
b.h.a.l. 


Fig.  103. 


Or  we  come  not  again. 
b.h.d.o. 


INDEX   OF   INTERPRETATION. 


Abandonment,  Utter b.  h.  d.  1 85 

»      b.  h.  d.  1.  p 110 

Abasement d.  1 GO 

«  Self b.  h.  d.  1.  p.....  110 

"  "    handsfol 142 

Abhorrence d.  o.  b.  p 101 

Abundance ..b.  h.  d.  1. 84 

b.h.h.o 90 

Address,  Direct  Personal h.  f. 62 

"        General h.  o. 65 

"  "        ...b.h.h.o 89 

"       Sacred a.  f. 76 

"        Earnest,  Sacred b.  h.  a.  f. 92 

"        Sacred hands  fol. 142 

"        Devotional b.  h.  a.  o. 94 

Adjuration upl.  v 123 

Admiration b.  h.  upl.  v. 125 

"  b.  h.  upl.  s 128 

Adoration b.  h.  a.  f. 92 

"         b.  h.  upl.  V 125 

"         hands  ap 141 

Anger,  Violent r.  h.  cli. 140 

Annihilation b.  h.  d.  1. 87 

Anticipation,  Sublime a.  f. 76 

Antithesis h.o 67 

Apostrophe,  Sublime a.  f. 76 

"  "        b.  h.a.o 94 

261 


262  INDEX  OF   INTERPRETATION. 

GESTURE.  PAGE. 

Appeal,  Personal h.  f 62 

"        General b.  h.  h.  o. 89 

"        Universal _b.  h.  h.  1. 91 

"        Earnest,  Sacred b.  h.  a.  f. . .   92 

Arresting h.  f.  p. 102 

''         General h.  o.  p 103 

Ascription,  Sacred b.  h.  a.  f. 92 

b.h.a.f.  p. 112 

"  "       .,.b.  h.  a.  o.  p. 112 

Aspiration,  Serious,  Sublime  or  Sacred. b.  h.  upl.  v. 125 

Assertion,  Unemphatic,  Particular h.  f. 63 

"  "  General h.o.. 66 

"  Emphatic,  Particular d.  f. 53 

"  "  General d.o..... _..  56 

"  " ind.finger 138 

"  Very  Emphatic _.cli.  hand 139 

"  with  numbers  or  space b.  h.  d.  o. 82 

"  Impassioned,  Particular b.  h.  d.  f 81 

«  "  General b.  h.  d.  o. 83 

Astonishment   __ b.  h.  upl.  v.  out.  127 

Attention,  Arrested r.  h.  apl.  v. 124 

Attribution,  Sacred _ b.  h.  a.  f.  p.   ._.  112 

Aversion. _ h.  o.  v 115 

...h.  l.v..... 115 

"         with  elevation _a.  1.  v. .117 

Awe h.f.  p. ..103 

"    General ^ h.  o.  p 103 

" b.  h.  upl.  V. 125 

Benediction,  Individual b.  h.  h.  f.  p 110 

"  General _.b.  h.  h.  o.  p. 111 

« b.h.upl.  v.. ...126 

"  b.  h.  upl.  p 129 

Blessing b.  h.  upl.  v 125 


INDEX  OF  INTERPRETATION.  263 

GESTURE.  PAGE. 

Boldness h.  f 64 

Call,  Arousing upl.  v 124 

"  "         b.  h.  upl.  V. 126 

Cautioning ind.  finger 137 

" r.  h.  upl.  ind....  138 

Cessation b.  h.  d.  1 87 

d.l.p. 100 

"         b.  h.  d.  1.  p..... 110 

Challenge h.  f. 62 

Bold ...b.h.h.f. 87 

"        Universal b.  h.  h.  1 91 

Checking h.  f.  p 102 

"         General h.  o.  p. 103 

Classification,  Sublime a.  1. 78 

Command,  Personal h.  f. 62 

"  General.. b.  h.  h.  o 89 

"  Bold b.  h.  h.  f. 88 

"  Arousing upl.  v.._ 124 

Comparison _ d.  o 56 

h.o. 67 

.- b.h.h.o.. 90 

Completeness _ b.  h.  d.  1 84 

Concession _ d.  f. 55 

d.l... 59 

" b.h.d.  o. 83 

"  General d.  o. 58 

"  Moderate-. h.  1. 73 

"  Fullest  degree b.  h.  d.  1. 85 

Condescension _ d.  1 59 

Confession,  Sacred b.  h.  a.  f. 92 

Consummation d.  o. 57 

_ b.  h.  do. 83 

Contempt ...d.  1 61 


264  INDEX   OF   INTERPRETATION. 

GHSTUBK.  FAQE. 

Contempt d.  l.p. 101 

"  _ ind.  finger 136 

Contiguity b.  h.  h.  L 88 

Contrast b.  h.  h.  o. _   90 

Debasement _ d.  1 60 

Declaration,  Solemn upl.  v 123 

"  Vehement cli.  hand 139 

"  "  b.  h.  cli 140 

Declension d.  1. 59 

Defiance,  Violent cli.  hand 140 

Dejection .d.  f.  p.._ 98 

"         with  distance h.  1.  p 104 

Demand,  Forcible d.  f. ._ 54 

Denial.. d.  1 ._ 58 

"      Scornful ...d.  l.p 101 

Deposition b.  h.  d.  f. 81 

"  General b.  h.  d.  o. 83 

Deprecation h.  f.  p 103 

" b.  h.  h.  f.  P.....110 

"  with  Elevation.. b.  h.  a.  o.  v 121 

«  Sacred.. a.  f.  v... 116 

"  " b.  h.a.  f.p 112 

"  Earnest,  Sacred _.b.  h.  a.  f.  v 120 

"  Sacred  or  Sublime a.  o.  v. _.117 

"  "  "        b.  h.  a.  o.  p 112 

Depression _ d.  f.  p.._ _.   98 

Deprivation b.  h.  d.  1.  p 109 

Depth b.h.d.  f. 82 

"      with  Extent ..b.  h.  d.l 84 

Derision ind.  finger 136 

" d.l. 61 

"         Unemphatic h.  1. 74 

Descent ..b.  h.  d.  f 82 


INDEX  OF  INTERPUETATION.  265 

OKSTURK.  PAr.K. 

Descent,  with  iiunibers  or  space b.  h.  d.  I. 84 

Designation,  Special ind.  finger i:3;3 

"  Emphatic "         "      i:33 

Desolation b.  h.  h.  1.  p. 111 

Despair b.  h.  d.  1.  p. 110 

Destitution _ _ d.  1 59 

"  b.h.d.l 86 

Destruction d.  f.  p 98 

b.h.d.l 87 

"  without  Violence  _ _ . .  d.  1.  p. 100 

"  with  Violence d.  o.  p. 100 

"  Utter d.  o.  p. 100 

"  "     b.  h.  d.  1.  p 110 

Determination d.  f. 54 

"  Fierce cli.  hand 139 

Detestation d.  l..._ _  61 

"  d.  o.  b.  p. 101 

Diflfusion _ b.  h.  h.  1.  p. 111 

Diminution d.  1. 59 

...b.h.d.l... 86 

"  Unemphatic h.  1.... 74 

Directness h.  f _ 64 

Discrimination,  Close .ind.  finger 133 

Disclosing __ .h.  1. 70 

"  ..b.h.h.o 90 

Dispersion b.  h.  a.  1.  v. 121 

"  .- b.h.h.l.  V 120 

Displaying h.  1... 70 

"  b.h.h.l. 92 

Disregard,  Unemphatic. h.  1. 74 

Disruption b.h.h.l.  v 120 

b.h.a.l.  V 121 

Dissolution d.  1.  p 100 


266  INDEX  OF  INTERPRETATION. 

GESTURE.  PAGE 

Dissolution b.  h.  d.  1.  p 110 

Distress. hands  cla. 141 

Distinction,  Emphatic ind.  finger 1 38 

Divesting b.  h.  d.  1.  p 109 

Elevation,    Physical,     Intellectual,     or 

Moral a.  f. 76 

«  b.h.a.f. 93 

"         General b.  h.  a.  o 94 

"         with   Expansion b.  h.  a.  1.  v. 121 

"  "      Utmost  Expansion _.b.  h.  a.  1 95 

"  "      Extension  or  Distance . .  a.  1. _   78 

"            "             "          and  Superpo- 
sition   b.  h.  a.  1.  p. 113 

"         with  Distance  and  Superposi- 
tion   _ a.  1.  p. .. 106 

"  "      Remoteness a.  o.  b 79 

"            "               "          and  Superpo- 
sition   a.  o.  b.  p 107 

"         with  Repressive  Emotions a.  o.  p. 106 

"  "     Repulsion a.  o.  b.  v. 118 

"  "     Deprecation. ..b.  h.  a.  o.  v. 121 

Emphasis,  Special ind.  finger 138 

"  Extreme cli.  hand 139 

Entreaty,  Earnest .  b.  h.  h.  f. 87 

"  "  hands    cla. 141 

Enumeration,  Sublime a.  1. 78 

Exclamation. upl.  v .124 

Execration __ h.  f.  p, 103 

"  b.  h.  h.  f.  p 110 

"  b.  h.  h.  o.  p 111 

Exhortation h.  f 62 

b.  h.  h.  o. 89 

Expansion _ b.  h.  d.   1 84 


INDEX  OF  INTERPRETATION.  267 

GESTURE.  PAOK. 

Expansion b.  h.  h.  1.  v 120 

"  with  Elevation b.  h.  a.  I.  v 121 

"               "           "         and  Superpo- 
sition   b.  h.  a.  1.  p 113 

"  Utmost b.  h.  h.  1 91 

"  "       with  Elevation b.  h.  a.  1. 95 

Extension,  in  time,  space  or  thought h.  1. 69 

"  with  Superposition,  etc. h.  1.  p 104 

"  "  "  " b.  h.  h.  1.  p. 111 

"             "     Elevation  and  Superpo- 
sition   _ b.  h.  a.  1.  p 113 

"  with  Depth b.  h.  d.  1. 84 

Extremity d.  1. 61 

b.h.d.l 85 

Exultation a.  1 78 

"  Higher  degree _.a.  o.  b 79 

"  Highest      "      .b.h.a.l.. 95 

Fear b.  h.  h.  f.  v.. ...118 

"      b.  h.  h.  o.  V. 119 

"      b.  h.  a.  o.  V 121 

Finality d.  o 57 

"       b.h.d.o. 83 

Forward   Motion h.  f 64 

"  "       b.  h.  h.  o 90 

"  "        [see  Impulsion] b.  h.  h.  f. 88 

Fullness b.  h.  d.  1. 84 

"         b.h.h.o 90 

Futurity h.  f. 64 

"         with  Elevation... a.  f. 76 

General  Thought ...h.    o. 66 

Gloom,  with  Distant  Reference h.  1.  p 104 

Grasping cli.  hand 140 

Grief b.  h.  upl.  p 129 


268  INDEX  OF  INTERPRETATION. 

GKSTURR.  PAOS. 

Hopelessness d.  1. _   61 

"  b.  h.  d.  1. 85 

Horror _b.  h.  upl.  v. 125 

Humility _ _ d.  f 55 

"        d.o.... 58 

" b.h.d.  f. 81 

b.h.d.o 84 

" _ hands  fol 142 

"         hands  cro. 143 

"        Extreme d.  1. 59 

"  "  -.-. _ b.  h.d.l. 85 

«  "  b.  h.  d.  1.  p..... 110 

Humor,  Unemphatic   _.h.  1. 74 

Hypothetical  Clauses h.  o. 67 

Impossibility ..d.  f. 53 

1  inprecation d.  f.  p. 98 

"  General d.o.  p 100 

Impulsion _ h.  f 64 

"         b.h.h.  f. 88 

Indication ind.  finger 133 

Inevitability d.  f. 53 

Integrity h.  f _  64 

Irony,  Unemphatic h.  1 74 

Interrogation h.  f. .  _ 62 

h.  o. 66 

Joy,  Highest  degree b.  h.  a.  1. 95 

Lifting,  Act  of _ b.  h.  upl.  s. 128 

Mockery d.  1. 61 

"        Unemphatic h.  1. 74 

Necessity d.  f. 53 

Negation   _  d.  1 58 

" d.o.  b 62 

"        Unemphatic ,..,h,  1 72 


INDEX  OF  INTERPRETATION.  260 

OB8TCRK.  PAGE. 

Negation,  Emphatic.    [See  under  d.  f.  and  d.  o.] 53-56 

Nonentity d.  1. 59 

Non-existence b.  h.  d.  1. 87 

Numbers,  Large b.  h.  h.  1 91 

Oath upl.  V ....I2a 

Obsequiousness d.  1. 59 

Opening b.  h.  h.  o 90 

Opposition d.  o. 56 

Oratory,  Highly  Impassioned b.  h.  cli 140 

Parallelism b.  h.  h.  o 90 

Pity b.  h.  upl.  V 125 

"    Moderate upl.  p. ...128 

Praise b.  h.  a.  f .  _ 92 

Precision _ind.  finger 133 

Predominant  Idea d.  o. 57 

Preparation,  Arrested upl.  v. 124 

Presentation _ h.  f. 63 

"  General h.  o 65 

b.h.h.  f. 89 

Privation d.  1 59 

"         b.h.d.l. 86 

"         with  Strong  Emotion b.  h.  d.  1.  p 109 

Prohibiting h.  f.  p. 102 

"  Generalized h.  o.  p. 103 

Prohibition,  Authoritative ind.  finger 137 

"  Supernal a.  f.  p. 106 

"  "         Generalized a.o.  p 106 

Propulsion b.  h.  h.  f. 88 

Prostration d.  o.  p. 99 

"  b.  h.  d.o.  p 109 

Question,  Emphatic d.  f 54 

"         [See  Interrogation] 62-66 

Rapture b,  h,  upl.  v 127 


270  INDEX  OF  INTERPRETATION. 

GESTURE.  PAGE. 

Reference,  Specific ind.  finger 133 

"  General h.  o. 65 

"  Descriptive . . h.  1.. .  _ 70 

- h.  l.p 104 

"  "  with    Elevation 

or  Sublimity a.  1 _ 78 

"  Respectful h.  o 65 

"  Distant. h.  1 71 

"  Remote h.  o.  b 75 

"  Distant  with  Superposition . h.  l.p. 104 

"  Sacred a.  f. 76 

"  "      b.  h.  a.  f. 93 

"  General   Sacred .a.  o 77 

"  Impassioned b.  h.  s.  par. 130 

"  "  with  Repressive 

Emotions b.  h.  p.  par. 131 

Refraining  __ h.  f.  p. 102 

"  Geaeral h.  o.  p. 103 

Refusal d.  1. 58 

Regret upl.  p. 129 

Rejection .d.  1 58 

"         Scornful ..d.  1.  p 101 

"  "         and    Contemptuous. d.  o.  b.  p 101 

"         Vehement ._ d.  o.  b. 61 

Relinquishment d.  1. 59 

b.h.  d.l 85 

"  Hopeless b.  h.  d.  1.  p 110 

RemissioM h.  1 73 

"         Fullest  degree ...b.h.  d.l 85 

Remoteness,  in  time  or  space  with  ele- 
vation   a.  o.  b 79 

"  with   Superposition h.  o.  b.  p 105 

"              "     Elevation  and  Super- 
position  , , a.  o.  b.  p 107 


INDEX  OF   INTKUPKETATIOK.  271 

GESTURE.  PAGE. 

Remoteness,  with  Removal h.  o.  b.  v 116 

Removal h.  1. 71 

«       h.  1.  p 105 

"       ....h.  1.  V... 115 

"       Emphatic.. d.  1 58 

"       with  Remoteness h.  o.  b.  v 110 

"  "     Elevation a.  1.  v. 117 

"       in   Impassioned  Discourse b.  h.  d.  1. 85 

Renunciation b.  h.  d.  1.  p 110 

"  Absolute b.h.d.l 85 

Repression _ .  h.  o.  b.  p. 105 

"  b.  h.  p.  par. 131 

"  General d.  o.  p 99 

"  "with  Distant  Reference h.  1.  p. 104 

*'  Abhorrent d.  o.  b.  p. 101 

Reproach ind.  finger 13G 

Repulsion h.  f.  v 114 

h.  l.v 115 

"         General h.  o.  v 115 

"  " b.  h.  h.  o.  V 119 

"         with  Elevation a.  1.  v. 117 

**  "  "         a.  o.  b»v. 118 

Forcible b.  h.  h.  f.  v. 118 

"  « b.  h.  V.  par. 132 

"         Abhorrent ._ h.  o.  b.  v. IIG 

"  "         ..a.o.b.  V. 118 

Resemblance b.  h.  h.  o. 90 

Resolve,  Emphatic _._ d.  f. 54 

"         Desperate cli.  hand 139 

Restraining h.  f.  p. 102 

"  General .h.  o.  p. 103 

Restraint,  Supernal a.  f.  p.. 106 

"  "         Generalized a.  o.  p. 106 


272  INDEX  OF  INTERPBETATION. 

GESTURE.  PAOB. 

Retrogression h.  o.  b 75 

"  with  Remoteness h.  o.  b.  v.  _ 116 

Revealing     __ h.  1 _   70 

"  b.  h.  h.  o 90 

Reverence,  Profound b,  h.  upl.  v 125 

Ridicule,  Unemphatic h.  1. : _ .   74 

Sacredness .a.  f. 76 

.. _ ...h.  f.p. 103 

" b.  h.  a.  f 93 

"  General h.  o.  p. ..103 

"  with  Extension  or  Distance. a.  1. 78 

"  "     Utmost  Expansion b.  h.  a.  1 95 

Sadness,  General h.  o.  p _ .  103 

Sarcasm,  Unemphatic h.  1. 74 

Scorn d.  1. 61 

«     d.  1.  p 101 

"      ind.  finger 136 

Seizing h.  f.  p. 102 

"       General h.  o.  p 103 

"        _. cli.  hand 140 

Separation .b.  h.  d.  1. 84 

Showing h.  1. 70 

Solemnity h.  f.  p. .  _ 103 

"         General _ h.  o.  p. _ . .  103 

Space,   Large b.  h.  h.  1. 91 

Sublimity --.a.  f 76 

b.h.a.f 93 

"         General ..a.o. 77 

«  "       b.  h.  a.  o 94 

"         with  Extension  or  Distance.. a.  l.._ 78 

"  "    Remoteness... ..a.  o.  b. 79 

"  "    Distance    or    Extension 

and  Superposition a.  1.  p 106 


INDEX   OF   INTERPRETATION.  Zi'^ 

GESTURE.  PAGE. 

Sublimity,  with  Extension  and  Superpo- 
sition  b.  h.  a.  1.  p 113 

"         with  Remoteness  and  Super- 
position   a.  o.  b.  p. 107 

"         with  Utmost  Expansion b.  h.  a.  1. 9.t 

"  "     Deprecation b.  h.  a.  o.  v 121 

Submission _ d.  f 55 


(( 

d.  o. 

58 

(( 

d.l. 

59 

« 

"          General _ 

Summons,  Arousing 

Superincumbency _. 

*'                  with  Extension.. 
Superposition,  Physical  or  Moral  . . 

b.  h.  d.  f..... 

....b.  h.  d.  1..... 
....b.  h.  d.  o..... 

b.  h.  upl.  V... 

b.  h.  d.l.  p... 

....h.l.p. 

d.  o.  p. 

d.  l.p. 

-.  81 
..  85 
--  84 
..-126 
-.109 
--104 
...  99 
100 

tc 

(C 

tt 

C( 
C( 

"             with  Extension 

....b.  h.  d.  f.  p... 
....b.  h.  d.  1.  p... 
....b.  h.  h.  f.  p... 

b.  h.  h.o.  p.., 

b.  h.  a.  o. p... 

.....h.l.p. 

...108 
...109 
-.110 
...111 
...112 
-.104 

"  "  "         b.h.  h.l.p. 111 

"  "    Remoteness h.  o.  b.  p 105 

"               "             "             and  El- 
evation   a.  o.  b.  p. 107 

"  with  Space !b.  h.  d.  o.p 108 

"                "       Elevation  and   Ex- 
pansion   b.  h.  a.  1.  p. 113 

"  in  Impassioned  reference  b.  h.  p.  par. 131 

Supplication b.  h.  a,  f. 92 

"  hands  cla 141 

Suppression d.  f.  p 98 


271  INDEX  OF  INTERPUETATIOK. 

GESTURE.  PAGE. 

Suppression  .  _ b.  h.  d.  f.  p 108 

"  General d.  o.  p 99 

"  with  Space b.  h.  d.o.  p 108 

Surprise b.  h.  upl.  v 125 

b.  h.  upl.  V.  out..  127 

"         Moderate upl.p 128 

Surrender b.  h.  d.  f. 81 

"         General ..b.  h.  d.  o. 83 

Suspension   of  Thought h.  o 67 

Terror b.  h.  h.  f.  v 118 

"      b.  h.  a.  o.  V.....121 

Thanksgiving b.  h.  a.  f. 92 

Threatening _ ind.  finger 137 

"  _ upl.  ind.  finger. 138 

"  Violent cli.  hand .140 

Transition ._ h.  1. 71 

Triumph a.l... 78 

"        Highest  Degree __ a.  o.  b. 79 

"  "  " b.  h.a.l... 95 

Unfolding b.  h.  h.  1 92 

Universality b.  h.  h.  1. 91 

Urgency d.  f 53 

Veneration hands  cro 143 

Victory a.  1. 78 

"       Higher   Degree a.  o.  b. 79 

Warning ind.  finger 137 

"        Prohibitory. "         "      137 

"        Solemn upl.  ind.  finger_138 

Welcome b.  h.  h.  o 89 

Withdrawal d.  1. 59 

h.l. 71 

h.l.  p.... .105 

Wonder b.  h.  upl.  v. 125 

"         Moderate... upl.  p. 128 


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JOHN  C  BUCKBEE  &  CO., 

PUBLIS  HERS, 
122  AND  124  WABASH  AVE.,  CHICAGO,  ILL. 


John  C.  Buckbee,  formerly  a  member  of  the  firm  of  S.  C. 
Gri£rers  &  Co.,  has  become  the  publisher  of  the  following 
books  that  have  heretofore  been  issued  by  S.  C. 
Griggs  &  Co. 

Bacon — A  Manual  of  Gesture.— With  100  Figures,  embracing  a 
Complete  System  of  Notation,  with  the  Principles  of  Interpretation, 
and  Selections  for  Practice.  By  Prof.  A.  M.  Bacon.  Sixth  Edi- 
tion.     12mo,  cloth. 

"The  work  comprehenda  all  that  Is  valuabU  upon  the  subject  of  gesture." — 
R.  L.  Cumnock^  Professor  qf  Elocution,  Northwestern  University,  HI. 

Brown— Wit  and  Humor.— A  Choice  Collection  of  Anecdotes, 
Legal,  Congressional  and  Dialect  Wit  and  Humor,  Jokes,  Conun- 
drums, etc.  By  Marshall  Brown.  Illustrated.  Twenty  Second 
Edition.    12mo,  paper  covers,  50  cts.;   cloth $1.00 

"There  Is  an  enormous  amount  of  laughter  In  the  pages  of  this  book."— 
N.  Y  Evening  Mail. 

Buckingham— Elements  of  the  Differential  and  Integral  Cal- 
culus.—By  a  New  Method,  founded  on  the  True  System  of  Sir 
Isaac  Newton,  without  the  use  of  Infinitesimals  or  Limits.  By  C. 
P.Buckingham.    Third  Edition.    Revised.    12mo,  cloth -..$2.00 

Carew— Tangled.— A  Novel.    By  Rachel  Carew.    16mo,  cloth,  75o. 

"The  Ingenuity  of  Miss  Rachel  Carew's  story  Is  so  unusual,  the  probability 
80  well  sustained,  and  the  entertainment  we  derive  from  it  so  great  that  our 
Interest  is  held  from  the  Initial  to  the  concluding  chapter."— iVcu?  York  Evening 
Mail  and  Express. 


PUBLICATIONS  OF  JOHN  C.  BUCKBEE  &  CO. 


Cone — Two  Years  in  California. — By  M.  Cone.  With  15  fine 
Illustrations,  a  map  of  California,  and  a  plan  of  the  Yosemite 
Valley.     12mo,  cloth $1.50 

Fawcett— Hand-Book  of  Finance.— With  over  80  tables  and  dia- 
grams.   By  W.  L.  Fawcett.    Second  Edition.    12mo,  cloth,  $1.75 

"As  a  full  and  very  complete  collection  of  monetary  statistics,  this  work 
has  never  been  equaled  or  even  approached." — The  Philadelphia  Press. 

Hall— Lyrics  of  Home-Land.— By  Eugene  J.  Hall.  Beautifully 
Illustrated.  Octavo,  with  handsomely  ornamented  cover  in  ink 
and  gold.    Full  gilt  edges __ $2.50 

John  G.  Whtttikk  writes:  *'I  have  read  thy  handsome  volume  with  hearty 
Interest.  Some  of  the  poems  and  lyrics  seem  to  me  admirably  done.  They  are 
very  true  to  nature  and  home  life." 

*Ingersoll— The  Crest  of  the  Continent.— A  Record  of  a  Summer's 
Ramble  in  the  Rockies  and  Beyond.  By  Ernest  Ingersoll. 
Illustrated  with  about  one  hundred  beautiful  engravings  from 
leading  artists.    28th  Thousand.    12mo,  paper,  50  cts.;  cloth. $1.00 

"These  pictures  take  the  reader  delightfully  through  Denver  up  to  Pike's 
Peak,  along  the  picturesque  road  to  the  Rio  Grande,  to  the  Colorado  wonders,  the 
ancient  towns  of  New  Mexico,  the  antiquities  of  the  Rio  San  in&ny— Cincinnati 
Commercial  ■  Gazette. 

"  This  new  world,  this  new  region,  seems  like  enchantment.  Next  to  going 
to  the  Rocky  Mountains  is  the  privilege  of  reading  such  a  thrilling  narrative." — 
Christian  Secretary,  Hartford. 

Kennedy — Wonders  and  Curiosities  of  the  Railway. — Or,  Stories 
of  the  Locomotive  in  every  Land.  By  W.  S.  Kennedy.  Second 
Edition.     Illustrated.     12mo,   cloth $1.25 

"If  any  of  our  readers  wishes  a  thoroughly  entertaining  book  let  him  try 
this.  It  is  one  to  be  most  cordially  recommended  as  good  from  beginning  to  end. 
The  information  it  gives  is  wonderful,  and  the  chapters  are  full  also  of  many  good 
and  well  told  stories  and  bits  of  information  all  germane  to  the  subject.  The 
book  Is  embellished  with  many  useful  and  excellent  Illustrations  which  help  to 
make  the  work  In  Its  attractive  cover  and  with  Its  pretty  letter  press  a  very  gem 
of  a  book."— Unity,  Chicago. 

Lorimer— Isms  Old  and  New.— By  George  C.  Lorimer,  D.D. 
12mo,   cloth _ .$1.00 

"Written  in  a  style  remarkable  for  Its  freshness  and  force,  Its  ornate  ele- 
gance and  Its  popular  attractiveness,  and  every  page  glistens  with  apt  quotation, 
and  shows  large  reading  and  earnest  thinking.  It  meets  actual  foes  of  evangeli- 
cal Christianity  face  to  face  with  facts  and  arguments  which  can  not  be  gainsaid 
or  answered.— 2%«  Evangelist,  New  York. 


PUBLICATIONS  OF  JOHN  C.  BUCKBEE  &  CO.  3 

Lorimer— Jesus,  the  World's  Savior.— "Who  He  Is,  Why  He  Came, 
and  What  He  Did.    By  G.  C.  Lorimer.     12mo,  cloth $1.00 

"  It  presents  the  facts  and  their  lessons  with  a  freshness  and  force  that  enchain 
the  interest  and  leave  durahle  and  salutary  Impressions.  The  author's  style  la 
transparent,  often  ennobled  by  lofty  thought  and  profound  feeling,  and  enriched 
by  a  wealth  of  apt  citation.  The  book  Is  eminenMy  fitted  for  usefulness  in  this 
epoch  of  doubt  and  Inquiry."— iV'a«onai  Baptist,  Philadelphia. 

♦Lorimer—Studies  in  Social  Life :  A  Review  of  the  Principles, 
Practices  and  Problems  of  Society.  By  George  C.  Lorimer, 
LL.D.    12mo,  cloth |1.00 

"  He  Is  vigorous  and  aggressive,  logical  In  argument  and  sound  In  theory."— 
Philadelphia  Record. 

"It  Is  full  of  sound  sense,  and  of  broad  views,  and  abounds  In  suggestions  of 
practical  value."— CAicaco  Times. 

Maertz— A  New  Method  for  the  Study  of  English  Literature.— 
By  Louise  Maertz.  Sixth  Edition.  12mo,  Flexible,  Inter 
leaved  $1.00 

Maertz — Key  to  above  (for  Teachers  only) $0.50 

Mahan— The  System  of  Mental  Philosophy.  —  By  Prof.  Asa 
Mahan,  D.D.,  LL.D.     Fourth  Edition.     12  mo,  cloth $1.25 

Mishaps  of  Mr.  Ezekiel  Pelter.— Illustrated.     Cloth ...$1.50 

"The  auihor  creates  a  series  of  the  most  ridiculous  misadventures.  The 
plot  shows  great  Ingenuity  In  the  number  of  Its  absurd  situations.  The  book  Is 
certainly  Interesting."— CAtcaflro  Times. 

Baymond — The  Orator's  Manual. — A  practical  and  philosophical 
treatise  on  Vocal  Culture,  Emphasis  and  Gesture,  witli  selections 
for  Declamation  and  Reading.  For  Schools  and  Colleges,  and  for 
Public  Speakers  and  Readers.  By  G.  L.  Raymond,  M.  A.,  Prof, 
of  Oratory,  Princeton  College.     Fifth  Edition $1 .  50 

"The  freshest,  clearest,  most  complete,  and  soundly  philosophical  work  on  a 
public  speaker's  training  that  It  has  been  our  fortune  to  meet.  In  form  and  sub- 
stance It  Is  admirable A  faithful  study  and  practice  of  the  principles 

and  examples  of  this  book  will  result  In  a  natural,  graceful  and  effective  style  of 
public  speaking."— CArf««an  Union.,  New  York. 

Robertson's  (Fredlc  W.)  Living  Thoughts.— A  Thesaurus.     By 
ERR  Boyce  Tupper.     12mo,  cloth $1.00 

"  Literally  a  casket  of  Jewels."— C/irf««an  at  Work,  New  York. 

"  Grace  of  diction,  pungency  of  thought  and  moral  force  freight  each  para- 
graph. No  one  can  read  It  without  being  Intellectually,  morally  and  religiously 
the  better  for  it. ^'—Episcopal  Register. 


4  PUBLICATIONS  OF  JOHN  C.  BUCKBEE  &  CO. 

Rogers— The  "Waverley  Dictionary.— An  Alphabetical  Arrange- 
ment of  all  the  Characters  in  Sir  Walter  Scott's  Novels,  with  a 
Descriptive  Analysis  of  each  Character,  and  Illustrative  Selections 
from  the  Texts.  By  May  Rogers.  Half  calf,  gilt  top,  $3.50. 
Full  calf,  gilt  edges,  $5.00.    12mo,  cloth $2.00 

"A  key  to  the  treasure-house  of  Scott's  novels.'"— Episcopal  Register, 
Philadelphia, 

"There  Is  no  set  of  Scott's  novels  which  Is  complete  without  it."— BuffcUo 
Express. 

Sawyer— A  Practical  German  Grammar.— For  High  Schools  and 
Colleges.  By  W.  C.  Sawyer,  Ph.D.,  Prof,  of  German,  Wisconsin 
State  Normal  School,  Oshkosh.    12mo,  cloth $1.00 

Valentine— Natural  Theology;  or  Bational  Theism.  — By  M. 
Valentine,  D.D.,  Prof,  of  Theology  in  the  Lutheran  Theological 
Seminary,  Gettysburg.    12mo,  cloth ' $1.25 

Welsh  — Essentials  of  English.— By  A.  H.  Welsh,  Ass't  Pro- 
fessor of  History  and  English  in  the  Ohio  State  University.  Au- 
thor of  Development  of  English  Literature  and  Language.  12mo, 
cloth $1.25 

"No  notice  within  our  brief  space  can  convey  anything  like  a  proper  estimate 
of  this  valuable  volume.  It  will  prove  an  Invaluable  aid  to  all  who  seek  to  be 
directed  in  their  critical  study  of  the  English  language;  for  In  this  department  of 
study  there  can  be  no  happier  teacher  than  the  well  known  author  from  whose 
pen  this  has  come." — Christian  at  Work,  New  York. 

Welsh— Complete  Rhetoric— By  A.  H.  Welsh.   12mo,  cloth. $1  50 

"  The  work  takes  up  the  subject  of  Rhetoric  from  a  new  standpoint,  the  aim 
being  to  make  a  philosophical  study  of  the  fundamental  principles  of  procedure 
as  found  in  the  practice  of  the  best  writers— thus  giving  a  practical  grasp  of  the 
subject  not  to  be  gained  from  a  memorization  of  the  old  rules  of  the  rhetoricians." 

Wheeler— The  Foreigner  in  China.— By  L.  N.  Wheeler. .$1.25 

Zur  Briicke— German  Without  Grammar  or  Dictionary;  or  a 
guide  to  Learning  and  Teaching  German,  according  to  the  Pesta- 
lozzian  Method  of  teaching  by  Object  Lessons.  Part  I.  Tenth 
Edition.     12mo,  half  bound $0.';5 

Zur  Briicke— German,  etc.    Part  II.     Third  Edition.     Cloth.$1.25 

"  By  far  the  best  method  to  enable  pupils  to  acquire  familiarity  with  a  lan- 
guage and  readiness  In  speaking  it  " — Boston  Commonwealth. 


will  be  mailed,  postpaid,  on  receipt  of  price  by  the  publishers. 


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